What makes a rock song truly psychedelic? Is it the sizzle of the cymbals or the growl of the fuzz bass? Is it the sitar-like swirl of the six-string, the group harmonies, the bewitching melody, or the pervasive atmosphere of wonder and mystery? Or is it the spellbinding frontperson, whose outsized charisma and unearthly presence feels like a departure from conventional expectations? Any one of those things can impart some serious trippiness to a track. Get them all together in one groove, and “Make You Mine,” the new single from The Infamous HER is created. A delicious, mesmerizing, thoroughly rocking cut that calls back emphatically to the British Invasion while simultaneously sounding modern.
This is just the latest magic trick from a band with no shortage of inventiveness, attitude, glamour, and talent. In the past, The Infamous HER has evoked the glories of glam rock and the ruthless hooks of the new wave, the iconoclasm of punk, the roar of metal, and the irresistibility of contemporary pop. Whatever they’ve done, they’ve accomplished with style — and they’ve won themselves a reputation as one of the wildest and bravest bands in the New York City underground. Fans who’ve caught The Infamous HER in concert have been treated to a group that leads with tightness and compositional economy. Everything these musicians do is designed to serve the song. Every note and every beat counts.
But the true focus (and namesake) of The Infamous HER is singer and songwriter Monique Staffile, whose fearlessness, impertinence, passion and good humor gives this band its unforgettable personality. On “Make You Mine,” Monique is single-minded, intense, fiery, and self-assured — and just when listeners think they’ve got her pegged, she flips an entire verse in flawless French. Not for nothing is she calling her latest album Hula Hoop. She’s making music that’s classic, and sexy, fun, flirty, and hip-swiveling.
Monique is, naturally, the focus of David Dutton’s surreal clip for “Make You Mine.” But since The Infamous HER believes strongly in the path of excess, Dutton isn’t satisfied giving the viewer one image of the singer. Instead, he fills his footage with Moniques — often many at a time, interacting with each other, declaiming to the viewer, illuminating every frame like a struck match lights up the darkness. She and her bandmates are present at a house party that looks like it’s loads of fun, even if it’s impossible to place the date and time of the gathering. The fashions, the furnishings, and even the faded tone of the footage all suggest we’re in the 1980s, but the spinning camera and the pure energy of Monique belongs to no era in particular. It’s everywhere and every-when at once: wherever rock true believers are, that’s where fans will find The Infamous HER.
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