At times, when Remi Wolf discusses her brand-new album, Big Ideas, she seems to enter autopilot mode, her form functioning without any commands from her mind. During a recent chat, while she elaborates on studio arrangements in her smooth alto (“We recorded at Electric Lady in New York, also at Conway in LA…”), she casually reaches over and swipes a french fry from my plate.
“Would you like some ketchup?” I offer her.
Instantly, the trance is shattered, leaving Wolf in a state of sheer surprise. She bursts into laughter. “Oh my gosh, I’m just, like, chit-chatting and eating your fries!” she exclaims. “I was just…zoned out.”
There exists a humorous disconnect between 28-year-old Wolf’s angelic visage, framed by a halo of dark curls, and her inclination to sprinkle her dialogue with “fucking” and “dude.” (She also possesses a wonderfully unique fashion sense: for our meal, she sports a long-sleeve tie-dye shirt, a pearl choker with a sizable silver pendant, and mini platform Uggs.) It’s thoroughly endearing: Entering the Hollywood diner where we’re seated, she’s met with a broad smile and a heartfelt “Welcome back!” from the waitress. Wolf has transformed this modest eatery into her workspace as of late, holding discussions with different label representatives leading up to her album’s debut on July 12. “I wish she was present for this conversation,” she states regarding one waitress who, without prompting, shared with Wolf—and a table of execs—details about her handmade “Lorena Bobbitt Rules!” T-shirt. “She said, ‘Do you folks need more coffee? Also, I crafted this shirt. She severed her boyfriend’s penis.’ And we just responded with, ‘Neat.’”
Big Ideas amplifies Wolf’s impressive repertoire of crystal-clear vocals, funky sounds, and colorful wordplay. While her initial LP, Juno, was crafted entirely in a bedroom amidst the COVID pandemic’s peak, Wolf eagerly seized the chance to record Big Ideas in revered studios like Electric Lady, whose esteemed legacy she hoped would infuse the tracks. In this new album, she portrays vibrant narratives of spewing frogs and sharing a love-struck Halloween in Chicago amidst quirky guitar riffs and synths. The album also features strong jazz and disco influences, enhanced to complement its lively essence.
A recurring motif in Wolf’s music is her fluid approach to sexuality. Since her debut EP, You’re a Dog! (2019), she has articulated interest in both men and women as subjects of her yearning (and often, exasperation). “Upon entering the music sector, it was a battle to be acknowledged,” she remarks. In the nascent stage of her profession, she confesses a hesitancy to be labeled as an LGBTQ+ artist. “I’m striving to remain authentic. Much of my writing reflects my real-life experiences,” she explains. She feared that a label would constrain her identity and compel her to represent more than just herself. “I possess no expertise on anything, genuinely—neither on gender politics nor on queer politics. My only message is you do you, and I’ll do me.” In the five years following You’re a Dog!, she observes that the perception of sexuality—and queerness in general—has evolved “to a point where it’s like, who cares?” she shares. “There’s no need to make it a significant issue—which I thoroughly enjoy.”