Remi Wolf Announces New Album ‘Mud,’ Shares ‘Bottle’

imogenhartley
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Remi Wolf announces her third album ‘Mud,’ out October 9 via Island, and shares the warm, live-tracked new single ‘Bottle’

Remi Wolf is stepping into a new era, and she wants you to know it cost her something. On August 18, the singer-songwriter announced her third studio album, Mud,” due October 9 via Island Records, and confirmed a second single, Bottle,” which arrived days later with a music video. Following lead single “Twiggy,” the eleven-track project trades some of Wolf’s manic maximalism for a warmer, more spacious sound, and she has framed it as nothing less than a personal reckoning.

The stakes are emotional rather than commercial. “I feel like I’ve crossed into a new phase of life because of this album,” Wolf said in a statement. “I literally felt like I was covered in shit. And now, at the end of the album process, I feel so clean and clear. It has been a very cleansing record to make for me.” The title, and the mud-caked video for “Twiggy,” turn that metaphor into the album’s central image, transformation through the muck rather than around it.

A Record Made In A Room, Together

What distinguishes “Mud” from Wolf’s earlier work is how it was built. After a stretch of near-constant touring, writing and recording left her questioning both what she wanted to say and how she wanted to make music, she retreated to Big Bear with longtime collaborator Jared Solomon and a small circle of friends, including Jack DeMeo, Jamie McLaughlin and Gigi Grombacher.

They wrote songs, shared family dinners and passed microphones around the kitchen table, and that loose, communal energy carried into sessions in Nashville, at New York’s Electric Lady Studios and finally in Joshua Tree.

Crucially, the group tracked everything live in the same room, chasing the feel of a band playing off one another rather than assembling songs piece by piece. That method is audible in the early singles, which lean on organic instrumentation and breathing space instead of the hyperactive collage of her past. “I made Mud with some of my closest friends and family,” Wolf explained, “and I think because I felt so safe with them, I could kind of crack my chest open and let whatever was in there crawl out.” The result, by her description, swings between sad, disgusting and hilarious, with no pressure to make itself make sense.

From ‘Juno’ To A Deeper Register

The evolution is significant for an artist who broke through on sheer, kaleidoscopic personality. Wolf’s 2021 debut “Juno” and 2024’s “Big Ideas,” which earned a Metacritic score of 80 and landed on year-end lists, established her as one of the most technically gifted and unpredictable pop voices of the early 2020s, fluent in funk, disco and pop without ever pandering. “Mud” doesn’t abandon that adventurous spirit so much as ground it, pointing her restlessness inward.

The rollout has been deliberate. Lead single “Twiggy,” a wry kiss-off about exes who were flat in every sense, was first teased during Hayley Williams’ set at the Newport Folk Festival and later pressed to vinyl with a hidden B-side, “Tiny Little Twigs (Demo).”

“Bottle” now expands that world as the album’s second preview. The full “Mud” tracklist runs “Bottle,” “Champagne,” “Twiggy,” “Burn Me Blue,” “Jamie,” “Covered In Mud,” “Moon So High,” “I Won’t Cry,” “Wine Drunk,” “Guess” and “Yellow Rose.” For a musician who has spent her career being described as bold and chaotic, “Mud” is a bet that her most daring move might be slowing down, letting the people she loves into the room, and simply telling the truth.

Author
imogenhartley

Imogen Hartley

Imogen Hartley started writing about music because she was tired of reading reviews that described albums without actually saying anything. Based in Bristol, she covers emerging artists, pop culture, and the cultural politics of who gets called a serious musician and who gets dismissed. She spent several years contributing to music and culture outlets across the UK before joining Latetown Magazine, where she writes with the kind of directness that makes artists uncomfortable and readers come back.

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