Get To Know: Energy Whores

Get ready to meet Energy Whores, the electro-punk-pop collective shaking up the music scene with their fearless blend of protest and dancefloor fire. Fronted by singer-songwriter and sonic provocateur Carrie Schoenfeld, the project thrives on bold statements, subversive beats, and a refusal to play it safe. With their latest single Hey Hey Hate, Energy Whores turn doomscroll despair into a defiant anthem—challenging listeners to confront division, move their bodies, and imagine a flood of compassion powerful enough to drown out hate.

Welcome to Curious For Music! Can you tell us about the inspiration behind your  latest release? 

The song Hey Hey Hate! came from doomscrolling, honestly. Watching the news one night, I was struck by how much hate was being normalized and how anger and cruelty were suddenly mainstream. The phrase “Hey Hey Hate!” just popped into my head as a great hook and I knew it had to become a song. 

What was the creative process like for this project? 

Many late night hours writing and composing, rearranging lyrics, sound engineering, mixing and mastering.You know, the usual. 

How does this new release differ from your previous work? 

Sonically, it’s more electronic and dance-driven, but with sharper edges and bigger production. I wanted it to sound wide and cinematic, but still intimate enough to whisper the message in your ear. 

Were there any particular challenges you faced while making this music?

Actually, this song started as two separate songs, “Tiny Drop “ and “Hey Hate” but neither of them came to life like I had imagined. I was working with Grant at the time, who was 

teaching me mixing techniques. He helped me rearrange the production and after some  2am tinkering, it was done. 

Did you collaborate with any other artists or producers on this project?

Yes, Grant. I only met him this year in January as I was looking for a person to teach me how to improve my mixing and mastering. He brought a different perspective and a way to engineer sonic textures that pushed the songs into new territory. It was important to have that outside spark to keep the music from getting too insular. 

What message or emotion do you hope listeners take away from this release?

That resistance isn’t futile, it’s essential. I want people to feel the absurdity of what’s happening in the world, but also the fire to push back. Music that makes you think and move at the same time is an amazing way to wake you up to smell the coffee. 

Is there a story or concept that ties the songs together? 

Yes, it’s a loose narrative about living in a collapsing empire. Every song is a snapshot:  paranoia, rage, absurdity, resilience, even dark humor. Together, they paint a picture of a society on the brink but also the possibility of change. 

How has your sound or style evolved on this release compared to your earlier work? 

I’ve leaned harder into electronic production, creating a sound that’s both dancier and darker. It’s still “avant electro,” but sharper. Protest music disguised as something you can dance to. 

Is there a track in your music discography that feels especially meaningful to you? What makes it stand out? 

“Arsenal of Democracy” is the centerpiece for me. It is the title track on my album of 10  songs, releasing in October 2025. It’s both personal and political, and it’s me wrestling with what kind of world I’m leaving for the generations who follow. At the same time, it’s a rally cry. Every time I play it back, it reminds me why I make music at all. 

How do you plan to share this release with your audience? Are there any upcoming performances, videos, or special projects in the works?

I’ve been creating visuals, lyric reels, and videos to bring the songs to life on TikTok,  YouTube and Instagram. I’m also planning a mini-documentary about the making of the album. And live shows are coming. I want people to feel this music vibrate in their bones.