illumanti hotties Return with a Gnarly Video for New Single “MMMOOOAAAAAYAYA”

It’s the debut single on the band’s new imprint label Snack Shack Tracks through LA’s Hopeless Records.
illumanti hotties Return with a Gnarly Video for New Single “MMMOOOAAAAAYAYA”

It’s the debut single on the band’s new imprint label Snack Shack Tracks through LA’s Hopeless Records.

Words: Margaret Farrell

photo by Mariah Russek

April 21, 2021

There’s been plenty of breakup “anthems” and full divorce-inspired albums, but last year Los Angeles’ illumanti hotties put out the mixtape FREE I.H.: This Is Not the One You’ve Been Waiting For as the official “fuck you” to their then-label Tiny Engines to fulfill an exit agreement. Sure, many major label artists had found ways to wittingly get out of their imprisoning contracts, but Tiny Engines was as small indie label that had been lauded for the past few years. All the label drama behind them, illumanti hotties is now back with a new single “MMMOOOAAAAAYAYA” and their own label imprint Snack Shack Tracks via LA independent label Hopeless Records.

“I’m incredibly stoked to be partnering with Hopeless Records on my own imprint, Snack Shack Tracks!” said illumanti hotties’ leader Sarah Tudzin in a press email. “With everything that has brought me to where I am, I knew that the next time around I needed to seek support from folks who trusted me – who believed not only in illuminati hotties, but also in myself, and my curative vision as a creator at large. Hopeless is the perfect collaborator for IH and beyond. I am thrilled, grateful, and looking forward to an expansive future for the music that we’re all total nerds about!”

The new single comes with a striking video, a gnarly take on D’Angelo’s “Untitled (How Does It Feel).” “Somebody told me my music is too ‘CUTE’ to take seriously,” Tudzin said of the song. “So I wrote them a love letter. I hope they’re laughing their patoots off.” Instead of the body oil D’Angelo uses in his visual, Tudzin, well, uses a liquid more viscous. The video acts as a tribute, “while demanding space for the subversion of male sexuality and flipping the dynamic of power throughout its three slimey minutes,” she added.