Hubbry Logo
Emily WellsEmily WellsMain
Open search
Emily Wells
Community hub
Emily Wells
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Emily Wells
Emily Wells
Emily Wells
View on Wikipedia
from Wikipedia

Key Information

Emily Wells (born November 20, 1981) is an American multi-instrumentalist, vocalist, composer, arranger, and producer whose genres encompass alternative, experimental, hip-hop and classical.[1] In addition to playing instruments such as violin and analog synthesizers, she uses loops, sample pads, and acoustic drums to achieve a layered effect.

Early life

[edit]

Emily Wells was born in Amarillo, Texas, United States.[2] Her father was a music minister,[3] and Wells began playing the violin at age four.[4][3] In 1990 she moved with her family to Indianapolis, Indiana, where she lived until she began traveling in 2000.[5] While traveling she made her residence primarily in New York, where she would later move after an 8-year stay in Los Angeles.[6][7]

Music career

[edit]

Early solo albums (2000-2010)

[edit]

At age thirteen she began issuing her own recordings on cassette,[3] starting with an unofficial release with 100 copies. After several unofficial tapes,[8] in 2000 she "took up" with Epic Records but did not actually sign with them.[8] Beautiful Sleepyhead & the Laughing Yaks was her official full-length debut in 2006,[8] with all the tracks written, performed, produced, and mixed by Wells.[8] Her sophomore album The Symphonies featured bassist Joey Reina and drummer Sam Halterman alongside Wells.[8]

Wells was interviewed and performed "Symphony 1 in the Barrel of a Gun" on episode four of Last Call with Carson Daly, which aired through NBC on September 18, 2009.[9] In September 2010, after recently moving from Los Angeles to New York, Wells was joined onstage by vocalist and harmonium player Shilpa Ray. The performance was positively reviewed by The New Yorker.[10]

Mama and Partisan Records (2012)

[edit]
Wells tuning her drums before her show at Treefort Music Fest 2013 at the Neurolux in Boise, Idaho
External videos
video icon Emily Wells - "Mama's Gonna Give You Love" Music Video (July 2012)

In 2012, she released her full-length album Mama through Partisan Records.[8]

The lead single, "Mama's Gonna give You Love," was featured in The New Yorker on April 10, 2012.[11] She also released a free remixed version of Mama on Partisan, with remixers such as Jeremiah Jae, Kid Koala, Baths, and Deerhoof.[12] As of 2012 she was collaborating on material with Clint Mansell, a scorewriter and former frontman of Pop Will Eat Itself.[13] That April 2012 she created a featured mixtape for Magnet Magazine,[14] and Wells has periodically performed live sessions for recording studios, websites, and radio stations, including Daytrotter in April 2012,[15] WYNC's Soundcheck in May 2013,[16] Laundro Matinee in October 2014,[17] and KCRW in June 2013.[18]

Tour diaries and soundtracks (2013)

[edit]

Wells has written tour diaries and articles for such publications as American Songwriter,[19] Impose Magazine,[20] and The Huffington Post,[21] and she has appeared live multiple times on NPR, with an interview on All Songs Considered on April 4, 2013, and a live performance on KCRW on July 11, 2013.[22] In 2013 she composed a song for director Park Chan-Wook's movie Stoker and toured South Korea promoting the film.[21] A single titled "Passenger" for a then upcoming acoustic version of Mama was released in 2013.[3] The Guardian named her New Band of the Week No. 1,503 on April 30, 2013.[3]

An acoustic version of Mama was released in on June 11, 2013, in the United States and United Kingdom through Partisan Records.[23] It had been recorded with a Tascam 388, with no digital effects added to the basic instrumentation.[24] Her songwriting methods were featured in a July 2013 edition of Performer Magazine.[24] Among other shows, Wells performed at Le Guess Who? festival in The Netherlands in November 2013,[25] and also that year she collaborated live with Questlove at Electronium in 2013.[26] She performed with The Roots and Aloe Blacc at the Rock the Clinton Global Initiative event that year as well.[27]

Recent projects and tours (2014-2015)

[edit]

"Mama's Gonna Give You Love" was used in the January 2015 trailer for season 3 of the TV series Bates Motel.[28] On March 27, 2015, Wells gave a well-received keynote at Hackfort2 at the fourth annual Treefort Music Fest in Boise, Idaho wherein she presented her methods of composition at the intersection of art and technology and the growth of her sensibility as a musician. Performing with a reduced kit sans drums, she played earlier and later versions of her song "So, Sunday."[29][30] She headlined on the main stage on the final day of the Treefort in 2015 and participated in the festival's Yogafort as well.[31]

Wells was also broadcast on air by WQXR in March 2015, when she performed at Ecstatic Music Festival for the 80th birthday party of Terry Riley, along with other musicians such as Marco Benevento, Nancy Whang, and Face the Music.[32] Since 2016 she has released three full-length albums on the imprint Thesis and Instinct.

Style and influences

[edit]
"Wells [is a] virtuoso musician, and she dabbles in electronica, shades of folk and jazz, even classical and hip-hop, creating interesting tableaux and textures that are by turns airy and luminous, and spare and haunting."[8]
— iTunes editors, 2008

In 2015, Wells stated that amongst her influences are the music theorist John Cage, the minimalist composer Philip Glass, and the hip-hop group Wu-Tang Clan.[29][30]

Discography

[edit]
Solo releases by Emily Wells[8][33]
Year Name Label Release details
1999 Midori Sour Self-released 1999[33]
2002 Shadow Box Self-released 2002[33]
2004 Music for Geek Love Self-released 2004[33]
2005 Making Static Self-released 2005[33]
2007 Beautiful Sleepyhead & the Laughing Yaks Edub Productions Apr 12, 2007[33]
2008 The Symphonies: Dreams, Memories & Parties Creative Control Records Jul 08, 2008
2012 Mama Partisan Records Apr 10, 2012[8]
2013 Mama (Acoustic Recordings) Partisan Records Jun 11, 2013[8]
2016 Promise Thesis and Instinct Jan 29, 2016
2017 In the Hot Thesis and Instinct Mar 03, 2017[8]
2019 This World Is Too _____ for You Thesis and Instinct Mar 22, 2019
2022 Regards to the End Thesis and Instinct Feb 25, 2022

EPs

[edit]
Solo EPs by Emily Wells
Year Name Release details
2009 Dirty Creative Control Records (2009)

Singles

[edit]
Incomplete list of songs by Emily Wells[8]
Year Title Album Release details
2008 "O Holy Night" Single only Creative Control (Oct 10, 2008)
2012 "Becomes the Color" Single only Milan Entertainment (Oct 30, 2012)

Collaborations

[edit]
Year Name Label Release details
2013 Pillowfight (Emily Wells with Dan the Automator) Bulk Recordings/EMI 2013

Guest appearances

[edit]
Selected songs featuring Emily Wells
Year Single name Primary artist(s) Album Release details
2008 "Symphony 3: The Story" (with Emily Wells) Dwight Farrell The Symphonies Creative Control (2008)
"Gee Whiz" (with Emily Wells) Buck 65 Dirtbike 1/3 (Aug 2008)
2013 "Becomes the Color" (ft. Emily Wells) Various Stoker soundtrack Scott Free Productions (Jan 20, 2013)
"If I Ever Had a Heart" (ft. Emily Wells) Various Scott Free Productions (Jan 20, 2013)
"My Only Love" (ft. Emily Wells) Deltron 3030 Event 2 Bulk Recordings (Sept 30, 2013)

Personal life

[edit]

Wells is queer.[34]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Emily Wells

View on Grokipedia
from Grokipedia
Emily Wells (born Hannah Emily Wells; November 20, 1981) is an American composer, producer, multi-instrumentalist, vocalist, and video artist renowned for her innovative fusion of pop, , electronic, orchestral strings, structures, and folk elements, often layered with vibrato-laden vocals, synths, drums, guitars, and live instrumentation. Born in , and now based in , she draws from her upbringing in a family of preachers—collaborating notably with her father, a player and former music minister—to explore profound themes including the AIDS crisis, , queer identity, life, beauty, and destruction. Wells began her musical journey as a , starting with training at age four through classical methods and incorporating influences from hymns, orchestras, and DIY experimentation, which shaped her self-taught production style over more than two decades. Her breakthrough came in the with a series of critically acclaimed albums that bridged intimate traditions with expansive, genre-defying compositions, earning praise from outlets like for her "visionary" evocative music and for her "surprise and precision" in building complex, dynamic soundscapes. Key releases include her debut Midori Sour (1999), early works like Music For (2004) and The Symphonies: Dreams Memories & Parties (2008), Records breakthrough Mama (2012) and its acoustic counterpart (2013), (2016), This World is Too _____ for You (2019), and the 2022 album Regards to the End, which features tracks like "Come On Kiki" and "Love Saves the Day" and delves into , bodied listening experiences with , strings, and winds. Wells has also contributed to film soundtracks, including (2013), (2018), and in 2025, original scores for Plainclothes and The Fires, and received a 2025 Hollywood Music in Media Awards nomination for Best Song – Independent Film for "My ," highlighting her growing impact in and cinematic scoring. Her performances, described as "quietly transfixing," often incorporate and elements, establishing her as a polymathic figure in contemporary .

Biography

Early life

Emily Wells was born on November 20, 1981, in , to a family immersed in music; her father served as a church music minister, and her mother was a teacher. From a young age, she showed a strong inclination toward music, beginning lessons at age four through the at a local community college, which provided her with classical training. This early exposure to strings and her family's musical environment laid the foundation for her multifaceted approach to sound. In 1990, when Wells was nine years old, her family relocated to Indianapolis, Indiana, where she spent her teenage years attending . By age 13, her passion for music production emerged distinctly; a friend gifted her a four-track cassette recorder, inspiring her to experiment with multi-tracking and self-release her initial recordings on cassette tapes. These homemade sessions marked her first forays into capturing layered compositions, blending her skills with emerging production techniques in a DIY style. At 19, around 2000, Wells embarked on extensive travels across the , initially drawn to before settling in for eight years, a period influenced by personal relationships and creative opportunities. During these nomadic years, she continued honing her music production using portable setups, such as four-track devices and early digital tools, which allowed her to compose and record amid constant movement. This itinerant lifestyle, culminating in a relocation to New York, shaped her independent ethos and prepared her for a full-time music career in the late 1990s.

Personal life

Emily Wells identifies as , having come out at the age of 17 after her mother overheard a phone conversation that simultaneously revealed both Wells' and her father's sexual orientations. This personal experience has deeply informed her artistic themes, particularly in explorations of and the AIDS crisis, where she draws parallels to contemporary issues like . For instance, her queer perspective underscores the eco-feminist connections in her work, as seen in the album Regards to the End. Wells maintains a relatively private personal life, with limited public information available about her relationships beyond her long-term partnership with visual artist Samantha Nye. She is currently based in . Similarly, details about her family are sparse outside of professional collaborations, such as those with her father, a player and former music minister. Her interests extend to activism, particularly historical protests like those of during the AIDS crisis, which she studies for their radical empathy and resilience, and broader concerns around , viewing them through a lens of urgent personal and communal responsibility. Wells has expressed that these topics resonate with her as a individual from a lineage of preachers, shaping her worldview without extensive public involvement in organized movements.

Musical career

Early independent releases (1999–2007)

Emily Wells began her musical output as a teenager with self-released recordings, starting with the Midori Sour in 1999, which featured a blend of folk and experimental elements drawn from her classical background. This debut, produced entirely on her own using basic home equipment like a 4-track cassette recorder, showcased early experiments in multi-tracking vocals and instruments to create layered soundscapes. The album's raw, intimate production reflected her DIY ethos, honed through solitary home sessions where she explored string arrangements influenced by her violin training from age four. Following Midori Sour, Wells continued her independent trajectory with Shadow Box in 2002, a mini-album self-released on CD that delved deeper into eclectic fusions of , rock, and folk, recorded using rudimentary home setups to capture atmospheric textures. By 2004, Music for Geek Love emerged as another self-released CD, incorporating unconventional elements like over artificial strings and instrumental interludes, emphasizing her growing interest in experimental through limited-track . These works were crafted in home environments, where Wells multitasked as performer, producer, and engineer, using tools like effects pedals and toy instruments to build dense, improvisational layers without professional studio support. In 2005, Making Static marked a further in her self-released catalog, available initially on and limited-edition formats, with tracks that evoked dreamy, static-filled ambiences through home-recorded loops and violin-driven melodies. This period solidified her commitment to lo-fi techniques, transitioning from cassette limitations to early digital tools while maintaining a focus on organic, exploratory compositions. Wells' early releases gained traction in underground scenes as she toured independently across the U.S., performing in small venues and building a through word-of-mouth in indie and circles. Her shift toward more formal production culminated in 2007 with Beautiful Sleepyhead & the Laughing Yaks, released on Edub Productions as her debut full-length , featuring polished yet intimate folk-indie pop arrangements that retained the experimental essence of her prior home efforts. Recorded with greater access to layering capabilities, it highlighted elements rooted in her classical roots, receiving positive notices in niche publications for its evocative soundscapes during her ongoing travels and grassroots performances.

The Symphonies and rising recognition (2008–2011)

In 2008, Emily Wells released her breakthrough album The Symphonies: Dreams, Memories & Parties on Creative Control Records, marking a shift from her earlier solo endeavors to a more collaborative and orchestral sound. The album, produced and largely recorded by Wells herself in , features ten tracks structured as "symphonies" that blend loops, hip-hop beats, and elements, with contributions from bassist Joey Reina, drummer Sam Halterman, and cellist Jessica Catron across most songs. A notable collaboration appears on "Symphony 3: The Story," featuring rapper , adding a layer of experimental rap to the mix. This release is widely regarded as the point where Wells solidified her identity as a and , incorporating multi-tracked violins to create dense, atmospheric arrangements. The album's lead single, "," issued in October 2008 on the same label, showcased Wells' reinterpretation of the classic carol through her signature and looping techniques, gaining traction in indie circles for its haunting, minimalist vibe. Early live performances around this period, such as her acoustic set at The Echo in in September 2009, highlighted her one-woman production style, where she built songs layer by layer using , sampler, and vocals to captivate audiences. These shows emphasized the album's themes of dreams, memory, and introspection, drawing from Wells' DIY roots in prior independent releases while introducing a polished, symphonic edge. Growing media attention followed, with features in indie publications praising the album's innovative fusion of genres. Sputnikmusic awarded it a 4.0 out of 5 in a 2009 review, lauding its "uniquely shaped masterpiece" of -driven experimentation and emotive vocals. Magnet Magazine highlighted a track in its series that June, noting Wells' prodigious work and eerie, loop-heavy style as a fresh voice in alternative music. Similarly, Newcity Music previewed her 2009 Chicago performance, calling the album a critical step in her evolution toward more ambitious compositions. Reviewer Magazine echoed this in August 2008, describing the record as immediately captivating from its opening strains. Building on this momentum, Wells issued the Dirty EP in May 2009 as a self-released project, further demonstrating her maturing production skills with six tracks that remix and expand upon material from The Symphonies. Dedicated to the legacy of The Notorious B.I.G., the EP includes reinterpretations like "Juicy" and an extended "Requiem Mix" of "Symphony 6: Fair Thee Well," blending hip-hop sampling with orchestral swells recorded at her Los Angeles studio, with additional drums and bass support and up to 21 layers of violin on some tracks. This release retained her experimental core—rooted in solo violin looping—while adopting a more structured approach through layered instrumentation and thematic depth, setting the stage for broader recognition in indie and experimental scenes without venturing into major-label territory.

Mama era and film compositions (2012–2013)

In 2012, Emily Wells signed with Brooklyn-based independent label , marking a significant step in her career following her earlier independent releases. Her debut album for the label, Mama, was released on April 10, 2012, and featured a fusion of hip-hop production techniques with classical elements, including layered strings and electronic beats that Wells performed and produced largely on her own. The album was recorded between 2009 and 2010 at a horse ranch in Topanga Canyon, , where Wells experimented with multi-instrumentalism to create a sound that blended orchestral textures with rhythmic, urban influences. The from Mama, "Becomes the Color," highlighted Wells' innovative style through its haunting vocals and looping , accompanied by a directed by Wells herself that premiered in early 2012 and showcased abstract, introspective visuals. This track gained further prominence when it was selected as the original song for the of Park Chan-wook's Stoker, released in March 2013, where it served as a pivotal end-credits piece underscoring the film's themes of transformation and inheritance. Wells composed additional material for Stoker, contributing to its atmospheric score alongside established composers, which expanded her profile in film music. Building on the success of Mama, Wells released Mama (Acoustic Recordings) on June 11, 2013, via , stripping the original tracks to raw guitar and vocal arrangements recorded spontaneously during a sabbatical in , using a traveling reel-to-reel recorder. This reimagining emphasized the emotional core of the songs, contrasting the album's initial hip-hop and classical hybrid. During this period, Wells collaborated with composer on the Stoker soundtrack, co-writing and performing the track "If I Ever Had A Heart," which integrated her and vocals into Mansell's orchestral framework. Wells supported Mama and its acoustic counterpart with extensive touring in and , including a North American run with and headline dates promoting the remix EP Mama Remixed, which she offered as a free download. Live documentation from this era captured her one-woman band setup in sessions for radio stations like and , where she performed tracks such as "Mama's Gonna Give You Love" and "Come to Me" using loop pedals to layer , percussion, and vocals in real time. These performances, often shared via online videos and tour updates, illustrated Wells' dynamic stage presence and the album's adaptability in intimate settings.

Thesis and Instinct period (2014–2018)

During this period, Emily Wells established her independent label, Thesis & Instinct Records, marking a shift toward greater artistic and experimental exploration in her music. Founded in 2016, the label allowed Wells to self-release works that blended orchestral elements with electronic textures, emphasizing raw emotional depth over commercial accessibility. This era represented a maturation in her sound, building on prior film scoring experiences by incorporating more layered, atmospheric compositions that evoked intimacy and introspection. Wells's 2016 album Promise, released on January 29 via Thesis & Instinct, delved into themes of longing and fragility, structured as a multi-movement symphony with dramatic, gothic undertones. The 11-track record featured meticulous arrangements of vocals, piano, strings, and subtle electronic pulses, creating an overwhelming stillness that rewarded close listening and addressed the unease of broken promises. Critics praised its soulful baroque style and ghostly sighs, noting how Wells's moving voice navigated boundless imagination across tracks like "Los Angeles" and "You Dream of China." Recorded at Bushwick Studios, Promise showcased her evolution toward more adult, balanced experimentation, merging classical influences with modern production. In 2017, Wells followed with the EP In the Hot, released on March 3 through the same label, which incorporated live arrangements and unreleased material from Promise sessions to push her genre-defying artistry further. The seven-song collection, including reimagined versions of "Pack of Nobodies" and "Antidote," channeled fever dreams through orchestral-electronic production and passionate vocals, blending rock, experimental, and elements. This release highlighted her growing integration of alongside music, as seen in promotional visuals that complemented the EP's immersive, scattered energy. Live performances supporting In the Hot, such as her solo set at Le Poisson Rouge in April 2017, underscored her innovative multi-instrumental approach. Wells's live presence during this time amplified her experimental evolution, with notable appearances at the Treefort Music Fest in 2014, where she performed amid a lineup of indie acts, and a keynote at Hackfort2 in 2015 discussing her production methods. Her track "Mama's Gonna Give You Love" featured prominently in the January 2015 trailer for season three of Bates Motel, enhancing her visibility in media. The period also saw extended impact from earlier collaborations, including the 2013 Pillowfight project with , whose hip-hop-inflected production influenced her electronic leanings, and guest vocals on Deltron 3030's "My Only Love" from Event II, bridging her work with hip-hop innovators. Prior ties to , through contributions to albums like 20 Odd Years (2011), continued to inform her boundary-pushing style into this independent phase.

Mature works and activism (2019–2025)

In 2019, Emily Wells released her album This World Is Too _____ for You on her own Thesis & Instinct label, an introspective work that grapples with emotional fragmentation and broader societal disconnection amid climate urgency. The album's title track and pieces like "Remind Me to Remember" blend orchestral swells with minimalist production, reflecting Wells' DIY ethos while addressing personal vulnerability in a deteriorating world. Critics noted its grand, violin-driven soundscapes as a maturation of her experimental style, positioning it as a climate-focused that ceased to feel like a mere artistic choice for Wells. Wells' 2022 album Regards to the End deepened these explorations, dedicating tracks to queer artists like and weaving narratives around the AIDS crisis, climate collapse, and radical empathy. Released on February 25, the record draws parallels between historical pandemics and environmental devastation, with songs such as "I'm Numbers" and "All Burn, No Bridge" evoking beauty amid ruin through layered strings and poetic lyrics. As a from a lineage of , Wells framed the album as a dialogue with past resilience, emphasizing hope through organic sounds extracted from synthetic waste. It serves as an ode to AIDS activism, interpolating personal and collective loss without requiring prior knowledge of its themes. Her compositional work extended into film and theater soundtracks during this period, beginning with the 2021 single "David's Got a Problem," a piano-led tribute to AIDS activist and artist , written during a European tour and released as a standalone piece honoring queer histories of resistance. In 2025, Wells scored the motion picture Plainclothes, releasing the original soundtrack on September 19 with 20 tracks including reworkings like "Symphony 5 was a Surprise" and the original song "My ," which captures urban introspection through reimagined motifs from her catalog. The song earned a nomination for Best Song – Independent Film at the 2025 . That same year, she composed the score for Raja Feather Kelly's play The Fires, premiered at Soho Rep in 2024; the full eight-track release arrived on May 2, featuring atmospheric pieces like "All Three Worlds" alongside the titular single from 2024 and its electric demo variant, blending live band energy with cinematic tension. Wells integrated activism into her live performances, foregrounding queer and environmental themes through multimedia collaborations. In 2025, she announced a joint performance with visual artist titled The Glass Age at , set for early 2026 in conjunction with the Man Ray exhibition, where they planned to enact a poetic lecture-performance reflecting on influences, fragility, and ecological impermanence. These endeavors, including her AIDS and climate-infused albums, underscore Wells' evolution into a multimedia advocate, channeling personal identity—rooted in her upbringing—into broader calls for empathy and systemic change.

Artistic style and influences

Musical style

Emily Wells is renowned for her innovative blending of classical and modern elements in her compositions, incorporating traditional instruments such as , , and strings alongside contemporary synths, drums, and hip-hop-influenced beats. This fusion creates layered soundscapes that bridge orchestral depth with electronic textures, as seen in her use of and to underpin rhythmic drum machines and sampled elements. A key aspect of Wells' approach is her multi-instrumentalism and extensive use of looping techniques, both in live performances and recordings, where she builds intricate arrangements solo by layering vocals, percussion, and melodic lines in real time. This method allows her to construct full orchestral-like pieces from minimal setups, emphasizing and sonic experimentation. Her production style is often described as atmospheric and experimental, earning praise as "quietly transfixing" for its ability to draw listeners into immersive, introspective worlds through subtle dynamics and textural subtlety. Over time, Wells' sound has evolved from early lo-fi, DIY recordings characterized by raw, home-taped aesthetics to more polished chamber pop arrangements that integrate acoustic ensembles with electronic production. For instance, her album Mama exemplifies this fusion by merging folk introspection, classical complexity, hip-hop rhythms, and electronic elements into a cohesive, expansive whole. Wells further enhances her musical style through the integration of as a performative element, where projections of , natural imagery, and environmental themes synchronize with her live compositions to create multimedia experiences. This interdisciplinary approach underscores her exploration of human-nature connections, amplifying the emotional and conceptual layers of her work.

Influences

Emily Wells' musical influences draw heavily from experimental and classical traditions, particularly the works of composer and minimalist , whose innovative structures and conceptual approaches to sound have shaped her experimental compositions. Cage's emphasis on chance operations and purposeless play resonates in Wells' layered, improvisational arrangements, while Glass's repetitive motifs inform her rhythmic minimalism. These influences are evident in her self-described bridging of with contemporary forms. Earlier in her career, Wells cited singers and as key influences on her vocal style and songwriting, drawing from their emotive delivery and narrative depth in folk and jazz traditions. In the realm of popular music, Wells cites the hip-hop collective as a pivotal inspiration for rhythmic complexity and lyrical innovation, integrating their raw, narrative-driven energy into her beat-driven tracks and vocal deliveries. This fusion reflects her early exposure to diverse genres, allowing her to blend hip-hop's street-level intensity with orchestral elements. Wells' multimedia approach is profoundly influenced by visual artists and AIDS activists including , , , , and , whose provocative imagery and writings on queer experience and societal rage guide her integration of , performance, and protest footage in live shows and recordings. Wojnarowicz's fearless exploration of intimacy, loss, and resistance inspires Wells' thematic depth, particularly in pieces that reclaim shame through bold expression. Broader inspirations encompass the natural world, where Wells examines human-nature relations amid climate crises, drawing from ecological imagery like to evoke empathy and urgency. Protest movements, notably ACT UP's AIDS activism, inform her work's radical critique, linking historical queer struggles—such as the epidemic's devastation and cultural resilience—to contemporary environmental and themes. Her DIY ethos stems from home recording pioneers of the early 2000s, whose accessible technologies empowered her independent production starting with a 4-track in her teens, fostering self-reliant layering of instruments and vocals without studio intermediaries. This approach underscores her commitment to artistic control and innovation in lo-fi environments.

Discography

Studio albums

Emily Wells has released eleven studio albums since her debut in 1999, primarily self-released in her early career before partnering with independent labels, blending , folk, , and electronic elements in her production.
AlbumRelease DateLabelDescription
Midori Sour1999Self-releasedEmily Wells' debut album, a self-released CD that captures her early multi-instrumental experiments with violin and vocals in an indie folk style.
Shadow Box2002Self-releasedA mini-album blending jazz, rock, pop, folk, world, and country genres, produced as an early exploration of diverse musical influences.
Music for Geek Love2004Self-releasedAn unconventional full-length CD album featuring rapping, artificial strings, and nervy indie pop production, reflecting Wells' imaginative and eclectic early style.
Making Static2005Self-releasedA lo-fi self-released album of intimate folk-inspired tracks, emphasizing Wells' violin and vocal layering in a raw, home-recorded production.
Beautiful Sleepyhead & the Laughing YaksApril 12, 2007Self-releasedWells' first widely available full-length, a 14-track indie pop collection blending folk and classical influences with multi-instrumental arrangements led by her violin.
The Symphonies: Dreams Memories & Parties2008Creative Control RecordsA breakthrough album where Wells establishes her signature as a composer and producer, merging classical instrumentation with modern pop in transfixing, dreamlike soundscapes.
MamaApril 10, 2012Partisan RecordsAn exercise in precocious indie pop with lo-fi production incorporating country, folk, hip-hop, and electronica elements, often recorded in single takes for an intimate feel.
PromiseJanuary 29, 2016Thesis & Instinct RecordsA sparse, atmospheric full-length exploring themes of longing, fear, friendship, and climate change through minimal instrumentation and haunting vocal deliveries.
This World Is Too _____ for YouMarch 22, 2019Thesis + Instinct RecordsA chamber ensemble album commissioned by the Saint Paul Chamber Orchestra's Liquid Music Series, inspired by hymns and imagined eulogies, featuring arrangements by Michi Wiancko.
In the Dark MovingMay 15, 2020Thesis & Instinct RecordsMinimal recordings using only guitars and vocals, reimagining selections from the album This World Is Too _____ for You.
Regards to the EndMarch 4, 2022Thesis & Instinct RecordsA sprawling orchestral pop album addressing the AIDS crisis, climate change, and personal identity as a queer musician, drawing on historical references with virtuosic string and woodwind arrangements.

Extended plays and singles

Emily Wells has released a select number of extended plays and standalone singles, primarily through independent labels, highlighting her versatility across experimental electronic, acoustic, and holiday-themed works.

Extended Plays

TitleRelease DateLabelNotes
DirtyMay 26, 2009Creative Control RecordsA six-track EP featuring experimental electronic compositions; digital release available via the label.
Mama (Acoustic Recordings)June 11, 2013Ten-track acoustic reinterpretation of songs from her album Mama, emphasizing stripped-down instrumentation.
In the HotMarch 3, 2017Thesis + Instinct RecordsA seven-track EP of hip-hop-inspired with looping and meticulous arrangements, responding to the stillness of her prior album Promise.

Singles

TitleRelease DateLabelNotes
"O Holy Night"October 10, 2008Creative ControlA holiday single offering a minimalist take on the traditional carol.
"Come on Doom, Let's Party"March 22, 2019Thesis & InstinctLead single from the album This World Is Too _____ for You; accompanied by an official blending climate crisis imagery, , and archival footage.
"David's Got a Problem"February 25, 2022Thesis & InstinctStandalone single dedicated to artist and AIDS activist .
"The Fires"2024Thesis & InstinctSingle accompanying the score for the off-Broadway play The Fires.
"My San Francisco"September 12, 2025Thesis & InstinctOriginal song from the Plainclothes soundtrack; nominated for 2025 Best Song – Independent Film.

Soundtracks and scores

Emily Wells contributed the original song "Becomes the Color" to the of the 2013 Stoker, directed by . The track, featuring her signature blend of violin and vocals, was released on as part of the film's official , which also includes compositions by . In 2021, Wells released "David's Got a Problem" as a single, which later appeared in media contexts tied to her evolving compositional work, though specific film or TV placements remain limited in documentation. Wells made her scoring debut with Plainclothes, a 2025 drama directed by Carmen Emmi and starring and , which won Best Ensemble Cast at Sundance. The original motion picture soundtrack, released on September 19, 2025, via Thesis & Instinct, comprises 20 tracks including reworked instrumentals like "Symphony 5 was a Surprise - Instrumental Rework" and the new original song "My ." Key cues such as "The Letter and the Fight" underscore the film's emotional narrative. For the off-Broadway play The Fires by Raja Feather Kelly, premiered at Rep in in 2024, Wells composed the original score, released on May 2, 2025, via Thesis & Instinct. The eight-track album features atmospheric pieces like "The Movie Score" (10:54), which accompanies a related by Kelly, and shorter cues such as "Sam Reads Jay's Notebook" (1:07). Accompanying releases include the single "The Fires" in 2024 and its "Electric Demo" version in 2025, highlighting Wells's iterative approach to scoring.

Collaborations and guest appearances

Emily Wells has engaged in several notable collaborations with prominent artists across hip-hop, electronic, and genres, often contributing her distinctive vocals, , and production skills. In 2013, Wells partnered with producer (Dan Nakamura) for the album Pillowfight, a project blending hip-hop beats with her folk-inflected songwriting and sultry vocals. Released on Bulk Recordings, the album features Wells as the primary vocalist and co-writer on tracks like "Get Your Sh*t Together," with additional contributions from on turntables and Latyr Sy on percussion. Nakamura handled production, creating lush, retro-inspired soundscapes that drew comparisons to Nancy Sinatra's style, though critics noted its atmospheric, Lana Del Rey-like haze. Earlier, in 2008, Wells collaborated with Canadian rapper (Richard Terfry) on the Dirtbike 1/3 EP series, providing violin and production on select tracks amid the project's raw, lo-fi hip-hop aesthetic. She also contributed production to "," a track from the 2011 compilation 20 Odd Years, marking Buck 65's twentieth anniversary in music, where her string arrangements added emotional depth to his introspective lyrics. These partnerships highlighted Wells' versatility in bridging with underground hip-hop. Wells co-wrote "Symphony 6: Fair Thee Well & the Mix" with producer Dwight Farrell (also known as ) for her 2008 album The Symphonies: Dreams Memories & Parties, incorporating his beats and samples into her orchestral arrangements. This track, part of her early work that garnered recognition for its innovative layering of classical elements with electronic production, showcased Farrell's influence on the requiem-style closer. In 2013, Wells provided guest vocals on "My Only Love" from Deltron 3030's Event II, the sequel album by , , and . Her ethereal delivery complemented the sci-fi narrative's themes of loss and dystopia, fitting seamlessly into the project's star-studded guest lineup including and . More recently, in 2025, Wells teamed up with visual artist for The Glass Age, a live performance blending , , and . Premiering at the on January 15, 2026, the project features Wells' electronic compositions and vocals alongside Da Corte's conceptual visuals, exploring themes of fragility and transformation in a lecture-poem format. Announced as part of the MetLiveArts 2025–26 season, it represents Wells' expansion into interdisciplinary collaborations.

References

  1. https://www.discogs.com/artist/1285668-Emily-Wells
  2. https://www.allmusic.com/artist/emily-wells-mn0001988439
  3. https://www.roughtrade.com/en-us/artist/emily-wells
  4. https://www.emilywellsmusic.com/
  5. https://www.last.fm/music/Emily%2BWells/%2Bwiki
  6. https://www.sfcv.org/articles/artist-spotlight/emily-wells-open-everything
  7. https://wexarts.org/performing-arts/emily-wells
  8. https://www.npr.org/sections/allsongs/2013/04/04/176244396/song-premiere-emily-wells-los-angeles
  9. https://www.viberate.com/artist/emily-wells/
  10. https://open.spotify.com/artist/0tKasOjdZBjHJCMsalvvjb
  11. https://www.hmmawards.com/2025-hmma-nominations/
  12. https://artyard.org/residency/emily-wells-2/
  13. https://www.thecreativeindependent.com/people/musician-emily-wells-on-being-dedicated-to-art-as-a-daily-practice/
  14. https://www.theguardian.com/music/2013/apr/30/emily-wells
  15. https://www.timeout.com/san-francisco/things-to-do/emily-wells-emily-neveu
  16. https://www.indystar.com/story/entertainment/music/2016/03/07/emily-wells-promise-indianapolis-cabello-carceller-thesis-instinct/81111610/
  17. https://tapeop.com/interviews/137/emily-wells
  18. https://tomtommag.com/2011/02/the-evolution-of-emily-wells-new-york-phase/
  19. https://www.out.com/art-books/2016/3/17/emily-wells-turning-coming-out-art
  20. https://www.thelineofbestfit.com/features/interviews/emily-wells-the-art-of-acting-up
  21. https://atlargemagazine.com/journal/emily-wells/
  22. https://www.spectracreativeagency.com/roster/emily-wells
  23. https://www.ticketmaster.com/emily-wells-tickets/artist/1322948
  24. http://www.alwaysontherun.net/emilywells.htm
  25. https://www.discogs.com/release/3048445-Emily-Wells-Shadow-Box
  26. https://www.discogs.com/release/3132410-Emily-Wells-Music-For-Geek-Love
  27. https://www.discogs.com/release/2712522-Emily-Wells-Making-Static
  28. https://www.allmusic.com/album/beautiful-sleepyhead-and-the-laughing-yaks-mw0001918538
  29. https://www.discogs.com/master/2207881-Emily-Wells-Beautiful-Sleepyhead-And-The-Laughing-Yaks
  30. https://www.discogs.com/release/2250014-Emily-Wells-The-Symphonies-Dreams-Memories-Parties
  31. https://www.emilywellsmusic.com/store/p/the-symphonies-cd
  32. https://magnetmagazine.com/2009/06/16/mp3-at-3pm-emily-wells/
  33. https://music.apple.com/us/album/o-holy-night-single/293551474
  34. https://www.youtube.com/watch?v=XJh39EZex-Q
  35. https://www.sputnikmusic.com/review/32573/Emily-Wells-The-Symphonies-Dreams-Memories-amp%253B-Parties/
  36. https://music.newcity.com/2009/08/18/preview-emily-wellsschubas/
  37. http://reviewermag.com/press/2008/08/13/no-hard-feelings/
  38. https://www.discogs.com/release/5752320-Emily-Wells-Dirty
  39. https://www.discogs.com/release/8347738-Emily-Wells-Dirty
  40. https://www.brooklynvegan.com/emily-wells-sig/
  41. https://www.discogs.com/release/3578211-Emily-Wells-Mama
  42. https://www.thisisthatsong.wordpress.com/2012/04/11/april-11-passenger-by-emily-wells/
  43. https://www.youtube.com/watch?v=cMRyJLQCFNc
  44. https://filmmusicreporter.com/2012/10/30/emily-wells-original-song-becomes-the-color-from-stoker-released/
  45. https://exclaim.ca/music/article/emily_wells_revisits_2012s_mama_with_acoustic_recordings
  46. https://www.discogs.com/master/562557-Clint-Mansell-Stoker-Original-Motion-Picture-Soundtrack
  47. https://www.brooklynvegan.com/emily-wells-rel/
  48. https://www.youtube.com/watch?v=66fMeUGIMr8
  49. https://www.youtube.com/watch?v=hnoTGmV5C0g
  50. https://emilywells.bandcamp.com/album/promise
  51. https://groundcontrolmag.com/emily-wells-album/
  52. https://bendbulletin.com/2016/02/12/more-album-reviews-9/
  53. https://www.nytimes.com/2016/01/28/arts/music/review-emily-wells-layers-art-pop-filament-by-filament.html
  54. https://www.metacritic.com/music/promise/emily-wells
  55. https://www.clashmusic.com/reviews/emily-wells-promise/
  56. https://open.spotify.com/album/7luxJBAEkpNtIX8YNvcsB0
  57. https://buzzbands.la/2017/03/02/premiere-emily-wells-hot-ep/
  58. https://www.discogs.com/release/10753904-Emily-Wells-In-The-Hot
  59. https://music.mxdwn.com/2017/03/03/reviews/emily-wells-in-the-hot/
  60. https://www.wqxr.org/story/listen-emily-wells-performs-in-the-hot-le-poisson-rouge
  61. https://www.oregonlive.com/music/2014/12/tv_on_the_radio_treefort_lineup.html
  62. https://www.dreadcentral.com/news/85569/new-bates-motel-season-3-trailer-see-go-behind-scenes/
  63. https://music.apple.com/us/album/pillowfight/714071994
  64. https://open.spotify.com/track/72pMqK9pt8qKVHIPUxiKGI
  65. https://www.discogs.com/release/2729355-Buck-65-20-Odd-Years
  66. https://emilywells.bandcamp.com/album/this-world-is-too-for-you
  67. https://www.emilywellsmusic.com/regards-to-the-end
  68. https://emilywells.bandcamp.com/album/regards-to-the-end
  69. https://pitchfork.com/reviews/albums/emily-wells-regards-to-the-end/
  70. https://acrossthemargin.com/album-review-emily-wells-regards-to-the-end/
  71. https://music.mxdwn.com/2021/11/27/news/emily-wells-shares-new-tribute-song-to-artist-aids-activist-david-wojnarowicz-entitled-davids-got-a-problem-announces-regards-to-the-end-for-february-2022-release-alongsi/
  72. https://emilywells.bandcamp.com/album/plainclothes-original-motion-picture-soundtrack
  73. https://emilywells.bandcamp.com/album/the-fires-original-score
  74. https://www.metmuseum.org/press-releases/mla-2025
  75. https://www.wnyc.org/story/294445-emily-wells-in-studio/
  76. https://www.spin.com/2009/05/breaking-out-emily-wells/
  77. https://afterellen.com/interview-with-emily-wells/
  78. https://spectrumculture.com/2012/06/13/concert-review-emily-wells/
  79. https://www.forfolkssake.com/interviews/24035/interview-introducing-emily-wells
  80. https://www.emilywellsmusic.com/about
  81. https://www.emilywellsmusic.com/regards-to-the-end-chamber
  82. https://www.npr.org/2007/06/12/10975660/emily-wells-mt-washington
  83. https://www.nga.gov/stories/sound-thoughts-art/emily-wells-and-david-wojnarowiczs-untitled-falling-buffalos
  84. https://wojfound.org/oral_history/emily-wells/
  85. https://www.discogs.com/release/2712511-Emily-Wells-Midori-Sour
  86. https://www.allaboutjazz.com/musicians/shadow-box-emily-wells
  87. https://rateyourmusic.com/release/album/emily-wells/music-for-geek-love.p/
  88. https://www.emilywellsmusic.com/store/p/beautiful-sleepyhead
  89. https://emilywells.bandcamp.com/album/the-symphonies-dreams-memories-and-parties
  90. https://www.allmusic.com/album/mama-mw0002322376
  91. https://consequence.net/2012/04/album-review-emily-wells-mama/
  92. https://www.allmusic.com/album/promise-mw0002903039
  93. https://liquidmusic.org/emily-wells
  94. https://www.albumoftheyear.org/album/140425-emily-wells-this-world-is-too-------for-you.php
  95. https://emilywells.bandcamp.com/album/in-the-dark-moving
  96. https://www.allmusic.com/album/regards-to-the-end-mw0003650018
  97. https://www.antimusic.com/news/09/march/02Emily_Wells_Offering_Dirty_Preview.shtml
  98. https://www.discogs.com/release/4645181-Emily-Wells-Mama-Acoustic-Recordings
  99. https://www.popmatters.com/release-details-2500385063.html
  100. https://www.discogs.com/master/1281397-Emily-Wells-In-The-Hot
  101. https://www.brooklynvegan.com/emily-wells-releasing-in-the-hot-ep-touring-dates-new-song-stream/
  102. https://emilywells.bandcamp.com/track/come-on-doom-lets-party
  103. https://www.youtube.com/watch?v=GBYq5u7GF5c
  104. https://open.spotify.com/track/2bfyIoSTAxF6Jmr91pcCq3
  105. https://emilywells.bandcamp.com/track/davids-got-a-problem
  106. https://milanrecords.com/release/stoker-original-motion-picture-soundtrack/
  107. https://filmmusicreporter.com/2025/09/17/plainclothes-soundtrack-album-details/
  108. https://www.emilywellsmusic.com/scores
  109. https://theneedledrop.com/news/emily-wells-to-release-score-for-off-broadway-play-the-fires/
  110. https://open.spotify.com/album/5HAETj76JlZmsXNHYmjJGB
  111. https://pitchfork.com/reviews/albums/17546-pillowfight/
  112. https://www.bulkrecordings.com/artist/pillowfight/
  113. https://exclaim.ca/music/article/buck_65_talks_i20_odd_years_i_ep_series_gets_gentleman_reg_to_help_cover_bronski_beat_on_next_instalment
  114. https://ugsmag.com/buck-65-dirtbike-33-album-download/
  115. https://www.musixmatch.com/lyrics/Emily-Wells/Symphony-6-Fair-Thee-Well-The-Requiem-Mix
  116. https://liveforlivemusic.com/news/deltron-3030-event-ii/
  117. https://www.brooklynvegan.com/deltron-3030-an/
  118. https://engage.metmuseum.org/events/metlivearts/2025-26-season/alex-da-corte-and-emily-wells-the-glass-age/
Add your contribution
Related Hubs
User Avatar
No comments yet.