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Key Information
Amanda Lucille Warner (born September 12, 1982), known professionally as MNDR, is an American singer, songwriter, and record producer. She rose to prominence after being featured on Mark Ronson & The Business Intl's 2010 single "Bang Bang Bang", which peaked at number six on the UK Singles Chart.
Life and career
[edit]1998–2006: Early life and career beginnings
[edit]Amanda Lucille Warner[4] was born on September 12, 1982,[5][6] in Fargo, North Dakota, where she was raised on a farm.[2][7][8] Her father built a four-track reel-to-reel in the basement of the family's farmhouse, and when Warner was about nine or 10 years old, he taught her how to record on it.[8][9] In 1998, when Warner transferred to Macalester College in Saint Paul, Minnesota, from Portland, Oregon, she met Brian Tester through Susan Lindell, a mutual friend, and the three formed the electronic pop band Triangle.[10][11] A few months after the trio's self-titled four-track debut EP was released in 1999 on their own label, Smoke + Mirrors, Lindell left the band to join the touring musical Buddy: The Buddy Holly Story as a guitar technician.[10][12]
As a duo, Triangle released a second EP titled Peek Meeter in 2000 on Smoke + Mirrors, and after signing to the Philadelphia-based label File 13 Records, they released their full-length debut album, *, on October 16, 2001.[10][12][13] Warner graduated from Macalester College in 2001 with a minor in chemistry and a major in double bass.[9][14][15] In 2006, Triangle released their second album, Decimal Places, through Chicago's Essay Records.[12]
2009–2010: E.P.E. and "Bang Bang Bang"
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Warner relocated from Oakland, California, to New York City in mid-2009 to work as a songwriter for hire, after a publishing company scout offered her a deal to write songs for mainstream artists.[16][17] She soon met producer Peter Wade, and after months of writing with him, he suggested that she release an album under her own name.[6] At the time, Warner designed a touring keyboard rig and played bass for the Yeah Yeah Yeahs during the making of their album It's Blitz! (2009).[6][18] MNDR has since opened for bands such as Yacht, Massive Attack, Deerhoof, Miike Snow, Chromeo, the Ting Tings, and Duran Duran,[16][19][20] and frequently collaborates with visual artist Jamie Carreiro, who provides visual effects for her live shows.[21] Warner and Wade uploaded four tracks to Myspace in 2009, which eventually became MNDR's debut EP, E.P.E., released on April 6, 2010, on Wade's WonderSound Records.[6][16][22] The EP was preceded by MNDR's debut single, "C.L.U.B.", released on March 24, 2009.[23]
Warner has performed under the moniker MNDR[24] since 2005,[25] around the time she was performing in the Bay Area.[24] The name was given to her by a Fargo friend, who called her "Mandar" while she was still in high school.[26] The spelling and design were inspired by early Detroit techno, early Chicago house, and German techno.[27] Warner explained, "MNDR is a group with Peter Wade in the sense that we make and write all of the music. However, I perform as a solo artist and all that comes with that."[25]
After hearing some of MNDR's music, English producer Mark Ronson invited Warner on his East Village Radio show in 2010, where he played one of her songs. Ronson asked if she would like to write on his third album, Record Collection (released under the moniker Mark Ronson & The Business Intl), resulting in what would become the album's lead single, "Bang Bang Bang",[28] which features vocals by Warner and Q-Tip.[6][29] Written by Warner, Wade, Ronson, and Q-Tip,[25] the song was released on July 9, 2010,[30] reaching number six on the UK Singles Chart.[31]
MNDR performed "Bang Bang Bang" with Mark Ronson & The Business Intl and Q-Tip on several television shows, including Friday Night with Jonathan Ross on July 2, 2010,[32] Later... with Jools Holland on September 17,[33] Late Show with David Letterman on October 11,[34] and Jimmy Kimmel Live! on October 14.[35] She later joined Mark Ronson & The Business Intl and toured the US, Europe, and Australia for a year,[25][36] while also touring as MNDR in her free time.[6]
2011–2013: Feed Me Diamonds
[edit]In October 2011, MNDR signed to Ultra Music.[37] Her first single with the label, "#1 in Heaven", was released on January 17, 2012.[38] MNDR told Spin magazine that the lyrics are inspired by kidnapped heiress Patty Hearst, commenting, "The lyrics to the chorus are her words [...] After she was arrested for robbing a bank where someone was murdered, her only press statement was, 'Tell them [my brothers and sisters] I am smiling and send my greetings.'"[39] The accompanying music video was directed by Ssion lead singer Cody Critcheloe and takes inspiration from women such as Jane Fonda, Wendy O. Williams, and Valerie Solanas.[39] In an interview with Coup De Main magazine in February 2012, MNDR revealed that her debut studio album was titled Feed Me Diamonds, adding that the title track is a homage to performance artist Marina Abramović.[25]
"Faster Horses" was released on July 17, 2012, as the second single from Feed Me Diamonds.[40] The song is inspired by the Henry Ford quote, "If I had asked people what they wanted, they would have said faster horses."[41] The album was released on August 14, 2012, by Ultra Music, and was streamed in full on the Spin website the previous day.[42] The title track was released on December 17, 2012, as the album's third single,[43] and its music video stars drag queen and former RuPaul's Drag Race contestant Raven.[44] On December 17, 2012, MNDR made a second appearance on Late Show with David Letterman, performing "Feed Me Diamonds".[26][45] Feed Me Diamonds was named the eighth best pop album of 2012 by Spin.[46]
2014–present: Hell to Be You Baby
[edit]On June 16, 2014, MNDR announced via Twitter she was working on her second studio album.[47] Later that year, MNDR co-wrote the song "Get a Little Closer", recorded by Rita Ora for the Adidas Originals #unstoppable campaign.[48] She collaborated with the duo Sweet Valley for a five-track EP titled Dance 4 a Dollar, released on February 24, 2015, by Fool's Gold Records.[49] MNDR described the EP as "the altered states parallel universe of East LA neighborhoods Highland Park and Eagle Rock. It is the soundtrack to nihilist future acid punk versions of these worlds, mixed with cough syrup and taking nods from Charles Burns' Black Hole, Akira, and Love and Rockets."[50] On October 9, 2015, she released "Kimono", a teaser single for her then-untitled second album.[51] The song was also featured in the promotional video for season 11 of the E! reality television series Keeping Up with the Kardashians.[52]
On July 7, 2016, Duran Duran announced that MNDR would stand in for founding keyboardist Nick Rhodes during part of the third leg of the Paper Gods tour in the United States. Rhodes was quoted as saying, "I will be back as soon as I can but know, in the meantime, that I am leaving both the band and fans in great hands, with the fabulous MNDR."[53] MNDR collaborated with Scissor Sisters on the charity single "Swerlk", released on June 9, 2017, in celebration of Pride Month and in honor of the one-year anniversary of the mass shootings at the Pulse nightclub in Orlando, Florida.[54]
On September 12, 2019, MNDR released "Save Me", the first official single from her second studio album, Hell to Be You Baby.[55] The album itself was released on June 25, 2021, by WonderSound Records.[56]
Personal life
[edit]On February 5, 2020, MNDR gave birth to a daughter.[57]
Discography
[edit]Studio albums
[edit]| Title | Details |
|---|---|
| Feed Me Diamonds |
|
| Hell to Be You Baby |
|
Extended plays
[edit]| Title | Details |
|---|---|
| E.P.E. |
|
| Dance 4 a Dollar (with Sweet Valley) |
|
Singles
[edit]As lead artist
[edit]| Title | Year | Album |
|---|---|---|
| "C.L.U.B."[23] | 2009 | E.P.E. |
| "Caligula"[58] | 2010 | Non-album singles |
| "Cut Me Out"[59] | 2011 | |
| "#1 in Heaven"[60] | 2012 | Feed Me Diamonds |
| "Faster Horses"[61] | ||
| "Feed Me Diamonds"[43] | ||
| "Kimono"[62] | 2015 | Non-album singles |
| "Swerlk" (with Scissor Sisters) |
2017 | |
| "Gravity"[63] | 2018 | |
| "Mars"[64] | 2019 | |
| "Save Me"[65] | Hell to Be You Baby | |
| "Open"[66] | 2020 | |
| "Fragile"[67] | ||
| "Save Yourself"[68] (with Big Data) |
2021 | Non-album single |
| "Love in Reverse"[69] (with Empress Of) |
Hell to Be You Baby | |
| "Hell to Be You Baby"[70] | ||
| "Dove"[71] (with Choir Boy) | ||
| "Want"[72] | ||
| "Cult of Me"[73] (with Girli) |
As featured artist
[edit]| Title | Year | Peak chart positions | Certifications | Album | ||||||
|---|---|---|---|---|---|---|---|---|---|---|
| AUS [74] |
AUT [75] |
GER [76] |
IRE [77] |
NZ [78] |
SWI [79] |
UK [31] | ||||
| "Bang Bang Bang" (Mark Ronson & The Business Intl. featuring Q-Tip and MNDR) |
2010 | 16 | 75 | 43 | 18 | 25 | 65 | 6 | Record Collection | |
| "Always on the Mind"[83] (Psychobuildings featuring MNDR) |
2012 | — | — | — | — | — | — | — | Non-album single | |
| "Go with It"[84] (Tokimonsta featuring MNDR) |
2013 | — | — | — | — | — | — | — | Half Shadows | |
| "Let Go"[85] (RAC featuring Kele and MNDR) |
— | — | — | — | — | — | — | Strangers | ||
| "Like It's Over"[86] (Jai Wolf featuring MNDR) |
2016 | — | — | — | — | — | — | — | Kindred Spirits | |
| "Unusual"[87] (RAC featuring MNDR) |
2017 | — | — | — | — | — | — | — | Ego | |
| "We Love"[88] (Tokimonsta featuring MNDR) |
— | — | — | — | — | — | — | Lune Rouge | ||
| "Chemicals"[89] (Oliver featuring MNDR) |
— | — | — | — | — | — | — | Full Circle | ||
| "Shivers"[90] (Slow Magic featuring MNDR) |
— | — | — | — | — | — | — | Float | ||
| "I Could Always"[91] (Le Youth featuring MNDR) |
— | — | — | — | — | — | — | Non-album singles | ||
| "I Only Need One"[92] (Bearson featuring MNDR) |
— | — | — | — | — | — | — | |||
| "My Sex"[93] (Brooke Candy featuring Pussy Riot, MNDR and Mykki Blanco) |
2018 | — | — | — | — | — | — | — | ||
| "Ether"[94] (RAC featuring MNDR) |
2023 | — | — | — | — | — | — | — | Single | |
| "DISKO"[95] (Upsilone featuring MNDR) |
2024 | — | — | — | — | — | — | — | Single | |
| "Tower In The Woods"[96] (What So Not featuring MNDR) |
2024 | — | — | — | — | — | — | — | Motions | |
| "Slow Motion"[97] (What So Not featuring MNDR) |
2024 | — | — | — | — | — | — | — | Motions | |
| "After Midnight"[98] (Martin Solveig featuring MNDR) |
2023 | — | — | — | — | — | — | — | Back to Life | |
| "—" denotes a recording that did not chart or was not released in that territory. | ||||||||||
Guest appearances
[edit]| Title | Year | Other artist(s) | Album |
|---|---|---|---|
| "Record Collection 2012" (featuring MNDR, Pharrell, Wiley and Wretch 32) |
2011 | Mark Ronson | Kitsuné: Record Collection 2012 (Remixes) [feat. MNDR, Pharrell, Wiley & Wretch 32][99][100] |
| "Young & Restless" | 2014 | M-Flo | Future Is Wow[101][102] |
| "Solid Gold" | 2015 | Michna | Thousand Thursday[103] |
| "Run for Cover" | None | Catch the Throne: The Mixtape Volume II | |
| "Lock & Load" | Killer Mike | Welcome to Los Santos | |
| "Run" | Nick Catchdubs | Smoke Machine[104] | |
| "No More Control" | Murs | Have a Nice Life[105] | |
| "Born to Break" | Robert DeLong | In the Cards[106] | |
| "We're Coming to You" (Jesse Shatkin Remix) | 2016 | The Bird and the Bee | Recreational Remixes[107][108] |
| "Like Water" | Flume | Skin | |
| "Falling Back" | 2017 | Oliver | Full Circle |
| "Chemicals" | |||
| "Big Love" (with EARTHGANG & MNDR) |
2020 | Louis The Child | Here for Now |
Remixes
[edit]| Title | Year | Artist |
|---|---|---|
| "Pumped Up Kicks" (MNDR 4-Track Remix)[109] | 2011 | Foster the People |
| "Spellwork" (MNDR Nighttime Remix)[110] | Austra | |
| "Psy-Chic" (Chops and Screws MNDR Remix)[111] | 2012 | Ssion |
| "Breathing Underwater" (MNDR Remix)[112] | 2013 | Metric |
| "Keep On Dancing" (MNDR Remix)[113] | 2014 | The Bloody Beetroots featuring Drop the Lime |
| "Forget" (MNDR Remix)[114] | Home Video | |
| "I Want You" (MNDR Remix)[115] | 2015 | Wrabel |
| "Nightlight" (MNDR Remix)[116] | 2018 | Silversun Pickups |
Production and songwriting credits
[edit]| Title | Year | Artist(s) | Album | Credit | Ref. |
|---|---|---|---|---|---|
| "Chance" | 2011 | Silk Flowers | LTD. Form | Production | [117] |
| "Frozen Moments" | |||||
| "Covered Lamp" | |||||
| "Fruit of the Vine" | |||||
| "Small Fortune" | |||||
| "Band of Color" | |||||
| "Present Dreams" | |||||
| "Thin Air" | |||||
| "A Bush Through the Dust" | |||||
| "You Can't Be Friends with Everyone" | Make Out | Non-album singles | [118] | ||
| "You're So Party Tonight" | 2012 | [119] | |||
| "Kiss Kiss" | 2013 | Prince Royce | Soy el Mismo | Co-writing | [120] |
| "Legacy" | 2014 | Sean Paul | Full Frequency | [121] | |
| "RYDEEN ~Dance All Night~" | E-girls | Colorful Pop | [122] | ||
| "Les Sex" | Kylie Minogue | Kiss Me Once | [123] | ||
| "Get a Little Closer" | Rita Ora | Non-album song | [48] | ||
| "Glow" | Kylie Minogue and Fernando Garibay |
Sleepwalker | [124][125] | ||
| "Wait" | [124][126] | ||||
| "Break This Heartbreak" | [124][127] | ||||
| "Chasing Ghosts" | [124][128] | ||||
| "Feel It" | Dev | Bittersweet July | [129] | ||
| "Gimmie Some" | Bittersweet July Pt. 2 | [129] | |||
| "Never Gets Old" | 2015 | Penguin Prison | Lost in New York | [130] | |
| "Radio" | Santigold | Paper Towns: Music From the Motion Picture |
[131] | ||
| "Tripolar" | MS MR | How Does It Feel | [132] | ||
| "L.A. Looks" | Health | Death Magic | [133] | ||
| "Rubber Band Stacks" | Brooke Candy | Non-album single | [134] | ||
| "If You Say So" | Escort | Animal Nature | [135] | ||
| "Something to Believe In" | 2016 | DJDS | Stand Up and Speak | [136] | |
| "Vroom Vroom" | Charli XCX | Vroom Vroom | [137] | ||
| "Trophy" | |||||
| "Lonely Life" | Miike Snow | iii | [138] | ||
| All except "Love Song to the World" | Clairy Browne | Pool | [139] | ||
| All songs | Executive production | [140] | |||
| "Superhuman" | Jake Miller | Overnight | Co-writing | [141] | |
| "Mean What I Mean" | AlunaGeorge featuring Leikeli47 and Dreezy | I Remember | [142] | ||
| "Hand in the Fire" | Mr. Oizo featuring Charli XCX | All Wet | [143] | ||
| "All Stars" | 2017 | Martin Solveig featuring Alma | All Stars | [144] | |
| "Come At Me" | Dev | I Only See You When I'm Dreamin' | [145] | ||
| "Express Pass" | Taylor Parks | Tayla Made | [146] | ||
| "Mood" | [147] | ||||
| "Hot Mess" | Girli | Hot Mess | [148] | ||
| "What I Like" | Gia | What I Like | [149] | ||
| "Babygirl" | Charli XCX featuring Uffie | Number 1 Angel | [150] | ||
| "Your Kiss Tastes Like Dope" | Lawrence Rothman | The Book of Law | [151] | ||
| "War" | 2018 | Brooke Candy | War | Co-writing, production | [152] |
| "My Sex" | Brooke Candy featuring Pussy Riot, MNDR, and Mykki Blanco | Non-album singles | Co-writing, co-production | [153] | |
| "My Love" | Martin Solveig | Co-writing | [154] | ||
| "1980-99" | Ssion featuring Patty Schemel and Sky Ferreira | O | [155] | ||
| "Free Lunch (Break)" | Ssion featuring Devendra Banhart | [156] | |||
| "Heaven Is My Thing Again" | Ssion featuring MNDR and Jametatone | [157] | |||
| "Let Me Down Like U" | Ssion featuring MNDR | [158] | |||
| "Deal with It" | 2019 | Girli | Odd One Out | Executive production | [159] |
| "Friday Night Big Screen" | |||||
| "Hot Mess" | |||||
| "Fake Friends" | |||||
| "Young" | |||||
| "Up & Down" | |||||
| "Day Month Second" | Co-writing | ||||
| "Stick Out" | |||||
| "Pink" | |||||
| "Everything He Needs" | Carly Rae Jepsen | Dedicated | Co-writing, bass | [160] | |
| "Big Love" | 2020 | Louis the Child featuring EarthGang | Here for Now | Co-writing | [161] |
| "In A Spiral" | Phantogram (band) | Ceremony | [162] | ||
| "Pedestal" | [163] | ||||
| "Nicolas Cage" | Kesha | Non-album singles | [164] | ||
| "GO LIVE" | Stray Kids | Go Live | Production | [165] | |
| "No Use" | Christian Leave | Non-album singles | [166] | ||
| "Adult" | [167] | ||||
| "San Andreas Fault" | 2021 | Kathleen | [168] | ||
| "Never Going Home" | Kungs | Club Azur | Co-Writing | [169] | |
| "Lipstick" | [170] | ||||
| "Clap Your Hands" | 2022 | [171] | |||
| "Past Life" | Madame Gandhi | Vibrations (EP) | Executive Production | [172] | |
| "Heart Wide Open" | |||||
| "Crystals and Congas" | Production, Executive Production | ||||
| "Date Me" | |||||
| "Set Me Free" | |||||
| "After Midnight" | 2023 | Martin Solveig | Back to Life | Co-writing | [173] |
| "Ether" | 2023 | RAC | Single | [174] | |
| "Sour Like Lemonade" | 2023 | Ill Peach | This Is Not an Exit | [175] | |
| "Sigh" | 2023 | [176] | |||
| "BLAH BLAH BLAH" | 2023 | Non-album single | [177] | ||
| "Forever 21" | 2024 | Trashworld | Livin' In A Trashworld | Production, Writing | [178] |
| "Dark Star Fairy" | 2024 | [179] | |||
| "F**K WORK" | 2024 | [180] | |||
| "Avoid" | 2024 | mra. | Avoid | [181] | |
| "Worthy" | 2024 | Mavis Staples | Worthy | [182] | |
| "DISKO" | 2024 | Upsilone | DISKO | Co-writing | [183] |
| "Tower In The Woods" | 2024 | What So Not | Motions | [184] | |
| "Slow Motion" | 2024 | [185] | |||
| "Feedback Invisible" | 2024 | Phantogram | Memory of a Day | [186] | |
| "It Wasn't Meant To Be" | 2024 | [187] | |||
| "Phuket" | 2025 | Soo Joo | No Ghost | [188] | |
| "Love Is An Ocean" | 2025 | The Midnight | Single | [189] |
Music videos
[edit]| Title | Year | Director(s) |
|---|---|---|
| "Bang Bang Bang" (Mark Ronson & The Business Intl. featuring Q-Tip and MNDR) |
2010 | Warren Fu[190] |
| "Cut Me Out" | 2011 | Timothy Saccenti[191] |
| "C.L.U.B." | 2012 | fourclops[192] |
| "#1 in Heaven" | Cody Critcheloe[39] | |
| "Feed Me Diamonds" | Peter LaBier[193] | |
| "Go with It" (Tokimonsta featuring MNDR) |
2013 | High5Collective[194] |
| "Faster Horses" | John Threat[195] | |
| "Hell to Be You Baby" | 2021 | MNDR and Glow in the Dirt[196] |
Awards and nominations
[edit]| Year | Award | Category | Nominated work | Result | Ref. |
|---|---|---|---|---|---|
| 2011 | MTV O Music Awards | Best Web-Born Artist | MNDR | Nominated | [197] |
| 2012 | Beyond the DJ: Most Innovative Solo Performer | Won | [198] | ||
| Paper Nightlife Awards | Best DJ | Won | [199] | ||
| 2017 | Grammy Award | Best Dance/Electronic Album | Skin (by Flume) | Won | [200] |
References
[edit]- ^ a b "MNDR Electro Pop Singer MNDR Embraces Live Performance". Rolling Stone. April 15, 2011. Retrieved March 23, 2023.
- ^ a b Lester, Paul (July 30, 2010). "New band of the day – No 837: MNDR". The Guardian. Retrieved February 22, 2014.
- ^ Marchese, David (May 22, 2013). "Giorgio Moroder: Back to the Future". Spin. Retrieved May 1, 2018.
- ^ "MNDR". Songs Music Publishing. Archived from the original on July 9, 2015. Retrieved July 9, 2015.
- ^ MNDR [@MNDR] (September 11, 2012). "I just realized that my birthday is tomorrow sept 12 and @betseyjohnson bday is today sept 11 #yes" (Tweet). Retrieved November 6, 2016 – via Twitter.
- ^ a b c d e f Bonet-Black, Tara (May 16, 2011). "Amanda Warner's Way". Women's Wear Daily. Retrieved March 23, 2023.
- ^ "MNDR". First Avenue. Retrieved February 22, 2014.
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- ^ a b c Carroll, Bryan. "Triangle | Biography". AllMusic. Retrieved May 3, 2014.
- ^ Hall, Adam (January 2, 2002). "Motherboard Connection". City Pages. Archived from the original on July 9, 2015. Retrieved July 9, 2015.
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- ^ Walsh, Jim (Fall 2010). "Music Makers". Macalester Today. Archived from the original on February 26, 2014. Retrieved February 22, 2014.
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- ^ a b Ship, Jesse (August 16, 2013). "New York producer MNDR on signing to Ultra, eating diamonds, and Tom Cruise's son". Beatport News. Archived from the original on July 9, 2015. Retrieved July 9, 2015.
- ^ a b c d e Graves, Shahlin (February 24, 2012). "Interview: 2012 must-know – MNDR". Coup De Main Magazine. Archived from the original on February 20, 2013. Retrieved March 8, 2012.
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- ^ "Mark Ronson & The Business Intl Go "Bang Bang Bang" On 'Jimmy Kimmel Live'". Idolator. October 15, 2010. Archived from the original on May 4, 2014. Retrieved May 4, 2014.
- ^ Patel, Puja (October 13, 2010). "Live: Mark Ronson & The Business Intl. (Featuring MNDR, Q-Tip, Spank Rock, And The Phantom Planet Guy) Invade Webster Hall". The Village Voice. Archived from the original on May 1, 2018. Retrieved May 1, 2018.
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- ^ "#1 In Heaven – Single". Ultra Music. Archived from the original on January 31, 2012. Retrieved January 26, 2012.
- ^ a b c "Video Premiere: MNDR Talks '#1 in Heaven'". Spin. January 17, 2012. Retrieved April 5, 2018.
- ^ "Faster Horses – Single". Ultra Music. Archived from the original on September 9, 2012. Retrieved August 18, 2012.
- ^ Atout, Alicia (November 11, 2012). "Gimme Your Answers: An Interview w/ MNDR". A Music Blog, Yea?. Retrieved May 4, 2014.
- ^ a b Bevan, David (August 13, 2012). "MNDR Breaks Down 'Feed Me Diamonds': Full Album Stream". Spin. Retrieved April 5, 2018.
- ^ a b "Feed Me Diamonds – Single by MNDR". iTunes Store. United States. December 17, 2012. Archived from the original on June 19, 2014. Retrieved February 22, 2014.
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External links
[edit]
from Grokipedia
Amanda Lucille Warner, known professionally as MNDR, is an American electro-pop singer, songwriter, record producer, and multi-instrumentalist.[1] Born and raised on a farm in Fargo, North Dakota, she developed her sound through collaborations with producer Peter Wade, blending retro-futuristic elements with unique sound design.[2] MNDR rose to prominence with her vocal feature on Mark Ronson's 2010 hit "Bang Bang Bang," which showcased her distinctive style and contributed to her industry recognition.[3]
As a Grammy Award-winning artist, MNDR has earned acclaim for her behind-the-scenes work, including songwriting and production credits for artists such as Kylie Minogue, Calvin Harris, Rita Ora, and Charli XCX.[4][5] Her discography features albums and singles characterized by synth-heavy production and genre-blending experimentation, often performed live in collaboration with Wade.[6] While her solo releases have cultivated a dedicated following, MNDR's influence extends primarily through her contributions to major pop productions rather than widespread commercial solo success.[1]
"Kimono" appeared as a standalone release in 2015.[63] "Save Me" marked the lead single from her second studio album Hell to Be You Baby. None of these singles achieved significant commercial chart success on major Billboard or Official Charts Company rankings.[64]
Early life and education
Childhood in North Dakota
Amanda Lucille Warner, professionally known as MNDR, was born on September 12, 1982, in Fargo, North Dakota.[7] She was raised on a multigenerational family farm outside Fargo, near Hillsboro, by working-class parents of Swedish heritage; the property had been in her family for five generations.[8][9] The farm's agricultural operations, including ties to sugar beet production as reflected in her father Mike Warner's local persona as "Mr. Sugar Beet," exposed her to the rigors of rural labor in North Dakota's harsh climate and sparse population—the coldest and least densely settled state in the contiguous U.S.[10][8] Farm life demanded practical skills such as manual work and resourcefulness, fostering a self-reliant ethos amid geographic isolation that limited access to urban cultural hubs.[11] This environment contrasted sharply with coastal music industry narratives centered on early networking, instead emphasizing individual initiative shaped by Midwestern agrarian realities—long winters, seasonal demands, and community interdependence without elite intermediaries.[2] Such conditions causally promoted independent problem-solving, as family-operated farms require hands-on adaptation over reliance on external systems. Her initial musical interests emerged through competitive classical piano performance during childhood, honed in the farm's constrained setting.[11] Additionally, her father's basement-built four-track reel-to-reel recorder provided early hands-on exposure to audio recording, bridging rural practicality with creative experimentation absent formal training or local scenes.[12] These elements, rooted in verifiable family dynamics rather than institutionalized paths, laid groundwork for later self-directed pursuits.Move to California and initial pursuits
After graduating from Macalester College in Saint Paul, Minnesota, in 2001 with a major in double bass and a minor in chemistry, Amanda Warner relocated to the Bay Area around 2003 for her post-college years.[13][14] She settled in Oakland, where she immersed herself in the local underground electronic and rave scenes rather than pursuing immediate mainstream opportunities in Los Angeles or New York.[15] This period, spanning until 2009, involved gritty living arrangements, including residency in a rave collective called Underworld, reflecting economic constraints typical of aspiring artists without familial wealth or industry connections.[16][17] Warner's initial pursuits emphasized self-reliant skill development through participation in DIY collectives such as Grandma's House, where she engaged in communal music experimentation and event organization amid Oakland's vibrant but resource-scarce subculture.[16] These activities contrasted sharply with narratives of coastal glamour, as her experiences included squatting in informal spaces—sometimes without basic amenities like shoes—highlighting the persistence required to hone performance and production abilities without external funding or networking shortcuts.[17][14] Odd jobs and collective living sustained her during this time, underscoring a focus on practical musical groundwork over speculative "dream factory" aspirations, in an era when the 2008 financial crisis amplified precarity for independent creators.[14] This phase built foundational resilience, as Warner's involvement in Bay Area's electronic underground—characterized by grassroots events and peer-driven innovation—prioritized technical proficiency in instruments and early digital tools over relational leverage, setting the stage for later transitions without relying on inherited advantages or serendipitous breaks.[16][18] By 2009, these efforts culminated in her departure for New York, marking the end of a formative period defined by deliberate, low-resource experimentation rather than effortless ascent.[14]Career beginnings
Pre-MNDR projects (1998–2006)
During her teenage years in North Dakota, Amanda Warner conducted initial experiments in music production and performance, drawing on foundational recording techniques her father taught her using a reel-to-reel four-track machine in their farmhouse basement, skills she first acquired around age 10 in the early 1990s.[19] These adolescent efforts, conducted amid a rural upbringing on a farm near Fargo, involved trial-and-error approaches to multitrack recording and basic composition without external funding or industry connections, yielding no commercial releases but fostering hands-on familiarity with analog equipment limitations.[2] Warner pursued formal studies in chemistry and music during college, likely spanning the early 2000s, where she expanded her self-taught production skills through independent experimentation rather than structured programs emphasizing nepotistic networks.[19] Post-graduation around 2003, she relocated to the Bay Area in California, continuing self-funded projects focused on electronic music exploration, including the acquisition of a Nord Micro Modular synthesizer for programming custom sounds and sequences.[14][19] These endeavors produced minimal techno tracks under pseudonyms or as personal alter-egos, emphasizing technical proficiency in modular synthesis amid repeated failures to secure breakthroughs, as she prioritized iterative learning over polished outputs.[19] By 2006, such efforts remained confined to local scenes and home setups, devoid of wider distribution or label support.Formation of MNDR and early releases (2009–2010)
In mid-2009, Amanda Warner, performing under the moniker MNDR, relocated from Oakland, California, to New York City after receiving a publishing deal offer from a scout who had heard her music and sought her songwriting services for mainstream pop acts.[20] This move positioned her in the city's music industry hub, where she prioritized pragmatic opportunities over speculative artistic breakthroughs, forming a production and performance duo with established producer Peter Wade to channel her synth-driven sound.[21] The partnership, established that year, blended Warner's vocal and compositional strengths with Wade's technical expertise, yielding initial tracks uploaded to platforms like MySpace as a low-cost entry into digital distribution and audience testing.[15] These early efforts culminated in MNDR's debut EP, E.P.E. (Everyday Practical Electronics), comprising four tracks that expanded on the uploaded demos with polished electro and synth-pop elements. Released on April 6, 2010, via Wade's independent label WonderSound Records, the EP emphasized self-reliant production and distribution strategies, including digital sales and targeted remixes to build momentum without major-label backing.[22] [23] Parallel to the EP, MNDR secured visibility through a feature on Mark Ronson's "Bang Bang Bang," a collaboration initiated when Ronson enlisted Warner for her distinctive vocals and production input on his album Record Collection. The track, released as the lead single on July 9, 2010, incorporated Warner's contributions to its synth-heavy arrangement and earned early airplay traction via Ronson's established network, marking MNDR's first high-profile exposure without relying on traditional "discovery" narratives.[4] [24] This output underscored a focus on strategic alliances and verifiable outputs over unproven hype, with Warner handling live performances and Wade managing backend logistics to sustain initial touring and remix circuits.[25]Major releases and evolution
Feed Me Diamonds (2011–2013)
Feed Me Diamonds, MNDR's debut studio album, was released on August 14, 2012, through Ultra Records in partnership with WonderSound Records. The album was primarily written and produced by Amanda Warner (MNDR) alongside collaborator Peter Wade, emphasizing a self-contained creative process that limited external influences typical of major-label productions. Key tracks such as the title song "Feed Me Diamonds," "#1 in Heaven," and "I Go Away" highlighted a synth-pop foundation with dense electronic layers, drawing from 1980s influences while incorporating modern dance-pop elements like pulsating basslines and processed vocals. A limited-edition blue vinyl pressing followed in 2013 via WonderSound Records.[26][27][28] Promotion centered on digital singles and visual media rather than extensive radio play, with the lead single "Feed Me Diamonds" accompanied by a music video featuring drag performer Raven, depicting a performer's transformation and critiquing superficial glamour. Live performances helped cultivate a dedicated audience, including appearances at venues like Webster Hall, though the project operated under indie distribution constraints that restricted broader market penetration compared to contemporaries backed by major labels. Warner and Wade's hands-on production approach, utilizing tools for aggressive synth leads and detailed textures, underscored the album's technical ambition but also its niche positioning within electronic music scenes.[29][30] Commercially, Feed Me Diamonds achieved modest visibility, earning a Metacritic score of 62 based on mixed reviews that praised its energetic synth arrangements but noted inconsistencies in songwriting cohesion. It did not secure positions on major Billboard charts, reflecting the challenges of Ultra Records' independent reach versus the promotional machinery of larger imprints, with sales likely confined to digital platforms and specialty outlets. The era marked MNDR's establishment as a synth-focused artist reliant on cult following rather than mainstream metrics, setting a precedent for future independent endeavors.[31][32]Hell to Be You Baby and subsequent work (2014–present)
Following the 2012 release of her debut album Feed Me Diamonds, MNDR experienced a period of relative quiet in solo output, marked by collaborations and production work for others, before returning with her sophomore album Hell to Be You Baby on June 25, 2021, via the independent label WonderSound Records.[33] The album's development was significantly shaped by personal events, including the birth of her daughter on February 5, 2020, which occurred weeks before the COVID-19 pandemic halted much of the music industry.[4][34] This timing forced a pivot to remote production and infused the record with themes of introspection and release, as Warner noted the child's arrival as a major influence amid lockdowns.[34] Hell to Be You Baby comprises 12 tracks, featuring collaborations with artists such as GIRLI on "Cult of Me," Empress Of on "Love in Reverse," and Choir Boy on "Dove," blending synth-pop with critiques of modern narcissism and digital obsession, exemplified in the title track's exploration of relational pitfalls co-produced by Mark Ronson.[35][36] Released independently during a streaming era dominated by algorithmic playlists, the album emphasized artistic control over commercial trends, with Warner handling much of the production herself.[4] Post-2021, MNDR sustained her career through versatility, including DJ sets and mixes shared via her official channels, such as the "Ten Song Tuesday" series in May 2020, which continued sporadically into later years to engage fans amid limited touring.[37][38] She issued extended mixes and remixes of album tracks like "Cult of Me" and "Dove," alongside occasional singles, but avoided major label pursuits, reflecting a deliberate focus on sustainability in a market prioritizing viral hits over sustained merit-based output.[39] As of 2025, no full-length follow-up has materialized, underscoring her resilience via diversified activities rather than chasing mainstream resurgence.[39]Musical style, influences, and production
Synth-pop roots and technical approach
MNDR's synth-pop foundations stem from a self-taught affinity for electronic instrumentation, shaped by early exposure to recording technology on her family's North Dakota farm, where her father constructed a four-track reel-to-reel setup that she began using at age 10.[40][19] This DIY foundation fostered an experimental ethos, transitioning from minimal techno sequences to lush, analog-inspired synth layers reminiscent of 1980s production aesthetics, as evidenced by her incorporation of vintage emulations and hardware like the Oberheim OB-8 and Jupiter-6 synthesizers.[6][19] Her technical approach emphasizes hybrid analog-digital workflows, blending physical synths such as the Dave Smith Mono Evolver, Moog Voyager, and Nord Modular with software sequencing in Ableton Live to create dense, multidimensional textures.[19] Soundtoys plugins like EchoBoy for delay and "sparkle," FilterFreak for modulation, and Decapitator for saturation are staples, applied across synth tracks to enhance dimension without formal mixing training, as seen in the production of her debut album Feed Me Diamonds where these tools processed every synth element.[6] This method yields a polished yet idiosyncratic electro-pop sound, prioritizing precise sound design over conventional industry pipelines, with custom patches and gear modifications underscoring her gear-geek proficiency.[6][19] The efficacy of this technique is demonstrable in her Grammy-winning production credits, such as contributions to Flume's Skin, where technical layering and plugin-driven effects enabled intricate, dance-oriented arrangements that distinguish her output through demonstrable sonic innovation rather than external validation mechanisms.[4]Lyrical themes and cultural commentary
MNDR's lyrics in the debut album Feed Me Diamonds (2012) emphasize personal awakening and resilience amid hardship, drawing from historical and political inspirations to underscore self-reliance and escape from constraining circumstances. The track "#1 in Heaven," for instance, is inspired by Patty Hearst's post-capture statements, portraying her shift toward altruistic clarity and sacrifice as a model of inner strength. Similarly, "Feed Me Diamonds" serves as a homage to performance artist Marina Abramović's account of familial tragedy, linking individual suffering—such as poverty and illness—to broader motifs of tyranny and emotional fortitude, using diamonds as a metaphor for destructive indulgence that demands personal reckoning.[41] These themes extend to critiques of external pressures on autonomy, as in "Faster Horses," which invokes Henry Ford's resistance to consumer demands to affirm artistic integrity over commercial conformity. "Sparrow Voices" further illustrates this through a narrative of forbidden love in China's class-divided society, highlighting grit against rapid societal upheaval and systemic barriers. Such content reflects an evolution from raw personal grit—rooted in Warner's experiences—to observations of universal human constraints, prioritizing direct confrontation over external validation.[41] In the 2021 album Hell to Be You Baby, lyrical focus shifts toward societal observation, interrogating the information age's algorithmic control and fostering vulnerability as a counter to digital detachment. Warner describes the record as "an ode to the dystopia of the Great Algorithm," critiquing how AI and social media propagate propaganda and erode authentic community, with tracks like "Cult of Me" addressing self-obsessed online cults and clickbait-driven narcissism. This extends to diary-like honesty in songs such as "Fragile," where unfiltered admissions of emotional fragility expose human flaws like envy and isolation without reliance on ideological framing.[34][42] Across releases, MNDR's commentary avoids prescriptive narratives, instead deriving from empirical reflections on technology's causal role in amplifying base impulses—evident in Warner's emphasis on "unapologetically honest and vulnerable" expression to reclaim agency from algorithmic gods. Themes of empowerment thus manifest through self-examination rather than collective affirmation, evolving from individual defiance to warnings against consumerism-fueled digital echo chambers.[34]Collaborations and songwriting credits
Key partnerships
MNDR originated as a production and songwriting duo between Amanda Warner and Peter Wade, formed in New York City in 2009. Their partnership yielded early tracks and extended to ongoing projects, including contributions to Warner's sophomore album Hell to Be You Baby, emphasizing Wade's role in beat production and co-writing that shaped MNDR's electronic sound.[4][43] A breakthrough collaboration occurred with Mark Ronson and Q-Tip on "Bang Bang Bang," co-written by Warner and Wade for Ronson's 2010 album Record Collection. The track's release as the lead single boosted MNDR's visibility, facilitating Warner's signing to Ultra Records and her integration into Ronson's touring band, while providing Ronson with a fresh synth-pop element.[44][21][14] Wade's prior industry ties further enabled joint efforts, such as touring support for Duran Duran, where MNDR's involvement leveraged mutual production synergies in the synth-pop genre. These alliances highlighted reciprocal creative exchanges, with MNDR gaining performance platforms and partners accessing Warner's vocal and compositional strengths.[6]Production contributions outside solo work
Warner co-wrote and provided vocals for "Bang Bang Bang" by Mark Ronson & The Business Intl, released on July 9, 2010, which peaked at number six on the UK Singles Chart.[45] This collaboration marked an early high-profile contribution outside her solo output, blending her synth-driven style with Ronson's production.[5] She received songwriting credit on "Babygirl" from Charli XCX's debut album Sucker, released February 18, 2014, contributing to the track's pop-punk edge amid XCX's rising commercial success.[4] Additional verified writing and production involvement includes tracks for Kylie Minogue in 2014, such as contributions alongside Rita Ora and Fernando Garibay.[4] Her broader portfolio encompasses songwriting and production for artists including Santigold, Calvin Harris, AlunaGeorge, and Carly Rae Jepsen, as detailed on her official site, often yielding royalty streams from placements but minimal front-facing recognition in an industry prioritizing lead artists over backend creators.[4] These efforts underscore persistent crediting imbalances, where empirical data from royalty societies like ASCAP reveal producers typically earn 3-5% of mechanicals and performance shares on hits they enable, yet receive disproportionate acclaim relative to visible performers.[4] Such disparities stem from market incentives favoring marketable faces over technical labor, as evidenced by Warner's Grammy-associated wins tied to collaborative works like Ronson's projects rather than isolated production feats.[5]Reception and impact
Critical assessments
Critics praised MNDR's debut album Feed Me Diamonds (2012) for its energetic synth-driven electro-pop, highlighting tracks like "#1 in Heaven" for gleaming, immediate appeal and "U.B.C.L." as a loopy club anthem suited to both dancefloors and radio.[28] The album's production was noted for sumptuous synths and hoover effects that evoked 1980s influences with modern polish, earning a 7.1 from Pitchfork and aggregate scores around 70 on Metacritic from outlets like SPIN, which lauded its synth hyper-freak accessibility.[28][31][30] However, reviewers critiqued the work as derivative pastiche, custom-built to the synthpop template of recent years rather than innovating beyond it, with sheen substituting for deeper swagger or punch.[28] Tracks like "Faster Horses" were seen as noisy and addled, prioritizing timeliness over emotional or sonic evolution, which some contrarian takes framed as overreliance on nostalgic buzzsaw pop elements without genuine advancement.[28] Subsequent EPs, such as Dance 4 a Dollar (2015) with Sweet Valley, received mixed assessments; while maintaining electro-pop vigor, elements like the glitchy "HoldMeAlways MakeBelieve" were faulted for being bogged down by excessive electronic embellishments that obscured vocals and innovation.[46] MNDR's 2021 album Hell to Be You Baby, released amid the COVID-19 pandemic, garnered positive but limited critical notice in niche publications, with AllMusic assigning a 7/10 for its alt-pop return to form and Vada Magazine commending its enjoyment value after years of songwriting for others.[47][48] Some reviews noted thematic explorations of cults and clickbait culture, yet broader coverage remained sparse, with user and forum discussions suggesting lukewarm mainstream reception despite fan appreciation for its evolution from earlier nostalgia-heavy roots.[42]Commercial outcomes and audience response
MNDR's debut album Feed Me Diamonds, released on August 14, 2012, via Ultra Records, achieved limited commercial traction, with no reported entries on major Billboard charts or equivalent international rankings. Traditional sales figures remain undisclosed in industry reports, reflecting the album's niche positioning amid the early streaming transition, where full-length releases often underperformed compared to singles or playlist-driven consumption. Subsequent works under the "Hell to Be You Baby" phase, primarily singles and EPs, followed suit, prioritizing artistic independence over broad market pushes, which constrained overall revenue streams from physical and digital album sales.[49] In the streaming era, MNDR's catalog garners steady but modest engagement, with approximately 132,600 monthly listeners on Spotify as of late 2023, underscoring a loyal core fanbase rather than viral scalability. Tracks like "Feed Me Diamonds" and collaborations accumulate views in the low millions on YouTube, but lack the explosive metrics of mainstream contemporaries, as streaming algorithms favor algorithmic playlist fits over album-centric narratives. This dynamic highlights a causal shift: her synth-pop independence, eschewing major-label marketing, fosters sustained micro-engagement but caps broader algorithmic amplification.[50] Live performances reinforce this niche draw, with documented setlists indicating small-scale venues and audiences; Setlist.fm logs just 42 user-reported attendances across multiple shows, often as DJ sets or supports rather than headlining arenas. Tours alongside larger acts have bolstered visibility without translating to headline-level ticket sales, evidencing audience loyalty tied to cult appeal over mass mobilization. Overall, these metrics delineate a market fit confined to electronic music enthusiasts, where independent ethos—self-directed production and selective releases—logically tempers mainstream penetration.[51]Personal life
Family and motherhood
Amanda Warner, professionally known as MNDR, gave birth to her first child in early 2020, mere weeks before the onset of COVID-19 lockdowns that restricted social interactions and support networks for new parents.[4] This timing introduced immediate challenges, as global restrictions limited external assistance during the initial postpartum period, a phase typically reliant on familial and community aid.[4] Warner is married to Peter Wade, a Grammy-winning record producer and longtime collaborator who shares in her professional and personal endeavors.[10] Raised on a farm in Fargo, North Dakota, Warner's background reflects self-reliant values that inform her approach to family life, prioritizing personal agency in navigating motherhood amid external constraints rather than relying on institutional narratives.[10] Public details on her parenting remain limited, underscoring a commitment to privacy while demonstrating that family milestones do not preclude individual productivity.[4]Views on industry and society
Amanda Warner, known professionally as MNDR, has described her entry into the music industry as a product of relentless self-directed effort, beginning with her upbringing on a farm near Hillsboro, North Dakota, where she developed an early interest in music before relocating to urban centers including the Bay Area and eventually New York City.[2][9] She initially worked as a session bassist, keyboardist, and songwriter for hire, emphasizing a grassroots progression without reliance on established connections or institutional support.[52] This path underscores her rejection of entitlement, as evidenced by her account of producing 130 songs over a 12-month period through disciplined, independent output rather than waiting for external validation or traditional album cycles.[53] Warner has critiqued aspects of the industry involving manipulative practices, such as promoters who overpromise opportunities or exploit artists' ambitions akin to Ponzi schemes, drawing from observations of figures who "talk above what they can actually do."[17] She advocates for operating outside conventional label systems, positioning MNDR as part of a generation enabling direct, one-on-one fan engagement that bypasses intermediary gatekeepers.[53] In New York, she notes the environment demands focus—"the game is deep here" with little room for complacency—contrasting it with more experimental scenes elsewhere.[40] On authenticity, Warner prioritizes raw, heartfelt expression over polished or ironic detachment, stating she has "never done something I didn’t want to do" and aims to write "direct and from the heart" without excessive metaphor.[53][40] She favors pop music that fosters "connection and inclusion" rather than the exclusionary tendencies she observed in experimental and noise genres during a prior phase of her career.[40] Performances, in her view, should remain "messy" to preserve genuine interaction, and she values fan discernment, asserting that "music lovers are not dumb" and possess superior taste to what record companies assume.[17][53] Warner has not publicly articulated major political positions as of 2025, focusing instead on industry dynamics driven by meritocratic persistence and cultural shifts where fans redefine artistic and social norms, such as evolving perceptions of sexuality and women's roles in pop, independent of corporate influence.[53]Discography
Studio albums
MNDR's debut studio album, Feed Me Diamonds, was released on August 14, 2012, by Ultra Records and WonderSound Records in digital and CD formats.[26] The album comprises 11 tracks, including "#1 in Heaven", "Stay", "I Go Away", and the title track "Feed Me Diamonds".[27] Her sophomore studio album, Hell to Be You Baby, was self-released on June 25, 2021, through WonderSound Records, available in digital format with a limited vinyl edition.[33][54] It features 11 tracks, such as "Open" (produced by Babydaddy and Peter Wade), "Cult of Me" (featuring GIRLI), "Hell to Be You Baby" (co-produced by Mark Ronson), and "Eyes Light Up".[55][56]Extended plays
MNDR's debut extended play, E.P.E. (subtitled Everyday Practical Electronics), was released on April 6, 2010, via WonderSound Records, a label operated by her frequent collaborator Peter Wade.[57] The EP comprises four tracks—"C.L.U.B.", "Fade to Black", "I Go Away", and "Jump In"—totaling approximately 15 minutes in length, and originated from demos uploaded to Myspace by Warner and Wade in 2009.[23][58] The project showcased MNDR's early electropop sound, blending synth-driven production with themes of nightlife and emotional detachment, setting a foundation for her subsequent full-length work.[59] Track "I Go Away" garnered notable early attention, designated as Pitchfork's Best New Track in June 2010 for its hook-laden electro hooks and vocal delivery.[60] No additional extended plays followed in her solo discography, with E.P.E. remaining a concise entry point to her catalog prior to the 2012 album Feed Me Diamonds.[61]Singles as lead artist
MNDR's debut single, "C.L.U.B.", was released on March 24, 2009, preceding her EP E.P.E..[13] Following her signing to Ultra Records, "#1 in Heaven" served as her first single with the label, released on January 17, 2012, and later included on the album Feed Me Diamonds.[62] That same year, "Faster Horses" and the title track "Feed Me Diamonds" were issued as singles to promote the album, released on August 14, 2012.| Title | Release date | Album/Notes |
|---|---|---|
| "C.L.U.B." | March 24, 2009 | Pre-E.P.E. EP |
| "#1 in Heaven" | January 17, 2012 | Feed Me Diamonds |
| "Faster Horses" | 2012 | Feed Me Diamonds |
| "Feed Me Diamonds" | 2012 | Feed Me Diamonds |
| "Kimono" | 2015 | Non-album single |
| "Save Me" | September 12, 2019 | Hell to Be You Baby |
Singles as featured artist
MNDR first gained significant exposure as a featured artist on "Bang Bang Bang" by Mark Ronson & The Business Intl., released in 2010 and featuring Q-Tip alongside her vocals; the track peaked at number six on the UK Singles Chart. This collaboration introduced her synth-pop style to a broader audience through Ronson's established platform in funk and electronic music. In 2013, MNDR contributed vocals to TOKiMONSTA's "Go With It," a single from the album Half Shadows that blended electronic beats with her melodic delivery, released on February 26.[65] The same year, she appeared on RAC's "Let Go" from the album Strangers, featuring alongside Kele Okereke, with the track emphasizing layered harmonies over indie dance production; it was promoted as a single with remixes including versions by Krystal Klear and Holy Ghost!. Subsequent features included Jai Wolf's "Like It's Over" in 2016, the lead single from his debut EP Kindred Spirits, released October 20 via Mom + Pop Music, where her emotive performance complemented the electronic-pop fusion and garnered attention in EDM circles.[66] In 2017, she featured on Oliver's "Chemicals," a single from the album Full Circle released August 11 on Interscope, highlighting her role in high-energy dance tracks with themes of emotional intensity.[67] These appearances fostered reciprocal visibility, allowing MNDR's vocal style to reach fans of diverse electronic producers while introducing those artists to her pop sensibilities.| Year | Single | Main Artist | Album/Single Notes |
|---|---|---|---|
| 2010 | "Bang Bang Bang" (feat. Q-Tip & MNDR) | Mark Ronson & The Business Intl. | Peaked at UK #6; from Record Collection |
| 2013 | "Go With It" (feat. MNDR) | TOKiMONSTA | From Half Shadows; Ultra Records release[68] |
| 2013 | "Let Go" (feat. Kele & MNDR) | RAC | From Strangers; Interscope/Cherrytree[69] |
| 2016 | "Like It's Over" (feat. MNDR) | Jai Wolf | Lead single from Kindred Spirits EP; Mom + Pop[70] |
| 2017 | "Chemicals" (feat. MNDR) | Oliver | Single from Full Circle; Interscope/Pulse[71] |
Guest appearances and remixes
MNDR has provided guest vocals on select tracks by other artists, demonstrating her collaborative range beyond lead releases. Notable examples include her featured performance on Oliver's "Chemicals" from 2017, where she contributed primary vocals to the electronic track. She also appeared on the Grand Theft Auto V soundtrack compilation Welcome to Los Santos (2015) with "Lock & Load," a collaboration featuring Killer Mike, blending her electro-pop style with hip-hop elements.[72][73] In remixing, MNDR has reinterpreted works for various acts, often infusing synth-driven production and atmospheric textures. Key credits include the "Nighttime Remix" of Austra's "Spellwork" (2011), emphasizing darker, nocturnal vibes; Wrabel's "I Want You" (2015), adding pulsating electronic layers; Silversun Pickups' "Nightlight" (2018), enhancing the indie rock with club-ready beats; Cyn's "Drinks" (2020), delivering a stripped-back yet energetic rework; and Allie X's "Super Duper Party People" (2020), amplifying the pop energy with her signature polish.[74][75] She further remixed TV Mania's "Beautiful Colours" (2011), a Duran Duran-affiliated project, incorporating futuristic synth elements.[76]| Remix Title | Original Artist | Year | Source |
|---|---|---|---|
| Spellwork (MNDR Nighttime Remix) | Austra | 2011 | Musixmatch credits[74] |
| Beautiful Colours (MNDR Remix) | TV Mania | 2011 | Duran Duran project release[76] |
| I Want You (MNDR Remix) | Wrabel | 2015 | Artist remix credit |
| Nightlight (MNDR Remix) | Silversun Pickups | 2018 | Official remix |
| Drinks (MNDR Remix) | Cyn | 2020 | Genius lyrics and credits[75] |
| Super Duper Party People (MNDR Remix) | Allie X | 2020 | Release announcement |
Awards and nominations
MNDR won a Grammy Award as a songwriter and producer.[77][4] She received a nomination for Best Web-Born Artist at the 2011 MTV O Music Awards.[78]| Year | Award | Category | Result |
|---|---|---|---|
| 2012 | MTV O Music Awards | Beyond the DJ: Most Innovative Solo Performer | Won[79] |