Mirror Queen’s new video for ‘Dying Days,’ the title track from their latest album out now on Tee Pee Records, is an electrifying visual counterpart to their signature sound.

On ‘Dying Days,’ Mirror Queen evolves. The album blends the band’s heavy, riff-driven foundation with a stronger emphasis on melody and progressive elements, a step forward without leaving behind their metal roots. “We didn’t want to lose the power, just add some new textures,” says frontman Kenny Kreisor. ‘Dying Days’ remains firmly anchored in the realm of hard rock, but the band has woven in enough psychedelia and prog to keep listeners on their toes. The record’s balance of heaviness and atmosphere shows the band stepping out of their comfort zone while keeping what’s always made them exciting—volume, riffs, and grit.

‘Dying Days’ is out now on Tee Pee Records and can be ordered here.

“We were aspiring to make a record that sounds lively”

What can you tell us about the video for ‘Dying Days’? What was the initial concept and brief from you as a band?

Kenny Kreisor: For previous videos, we had fine artist friends tackle the projects after brainstorming with me over drinks, and then I’d show the rest of the band the roughs and get further input. For this one, Michael, a friend of our social media PR guy Jason, wanted to step into the world of music videos after a lot of work in the movie trailer biz and, I think, some advertising. We talked on the phone about imagery such as desolation, dark skies, creepy birds, storms, etc., and how a sci-fi feel was desired, and then just let him run wild. It seems to have a narrative synopsis, whereas previous videos were more abstract.

Morgan McDaniel: As far as I know, the initial concept of the video is more or less what Kenny had conveyed the imagery of the song evoked to him. In true Mirror Queen fashion, it is filled to the brim with sci-fi under and overtones. This was then sent to me and the rest of the fellas (James and Jeremy) for further affirmation of a concept well conveyed. For fans of vague irony, the video was made with the help of AI, putting a real-world twist on the dystopic theme of the video and the current landscape the modern world is headed towards. Heavy stuff, indeed.

Kenny, MQ’s album ‘Dying Days’ was released last year during a busy period for Tee Pee Records with new releases from Sacri Monti, Legions of Doom, and Satan’s Satyrs. How do you balance running a label alongside playing in a band?

Kenny: As you might know, my label partner Dave Sweetapple passed away last summer, just before Satan’s Satyrs, Mirror Queen, and Legions of Doom had new albums out. He was really running the office more than I was, but now Jason and I are adjusting our approach to carry on. So, this question might have a better answer in a year. But Tee Pee bands are some of my favorite groups in the world. We’re a musician-friendly label (Dave was in Witch, Eerie, Sweet Apple, and Jason in Hopewell) and love all the groups as they influence me; they’re my “radio” for lots of new music!

And Morgan, you’re on tour right now with Satyrs – what are the differences or commonalities with the two groups?

Morgan: At the time of reading, the tour is more likely than not over. However, prior, in the moment, and in retrospect, it was one of the greatest consecutive days I’ve had in a row. I am glad to have met and worked with some of the best around (I am looking at you, Green Lung/Unto Others/Crew! Ali, Ollie, Sam, Lyle, Emma, Yaniv, Kevin). The similarities, I would say, are as follows: We are both four people, we play loud, we love to lug around Marshalls, and we enjoy what we do and enjoy people who enjoy what we do. As far as differences, the instrumentalist who sings plays a different instrument, one band is louder, one band uses full stacks (when we are allowed, which often is never), and that about sums it up as best as I can muster.

‘Dying Days’ blends psych, prog, and elements of NWOBHM. Were there any specific albums that influenced this direction?

Kenny: In my mind, Camel’s first few albums are all over this album, as well as the usual BÖC (perhaps more so Fire of Unknown Origin this time), Wishbone Ash, Lizzy, Tull, UFO, et al. Our rhythm section – James Corallo on bass, drummer Jeremy O’Brien – has been together for a long time now, and they like British metal quite a bit too, so I’m sure that vibe is emphasized even more behind the guitar influences from that era. I’m sure Morg’s got more to say on this as we split the songwriting again on this effort. This song specifically was written by him, down to the guitar harmonies. I devised the lyrics and, of course, we all came up with our individual rhythm parts.

Morgan: Speaking for myself, I refrain from having influences that directly influence my playing and/or songwriting as much as humanly possible. That said, as Kenny mentioned, the usual suspects will always creep up. I would say he is spot-on with Fire of Unknown Origin as that is a favorite of mine, and to add to the mid-career efforts, 80s Wishbone Ash might have crept in, in no small part due to Martin Birch. As of late, Birth Control, Electric Wizard, Pentangle, Pentagram, Atomic Rooster, Witchfinder General, The Stranglers, early Genesis, Rory Gallagher, and anything Martin Birch was remotely affiliated with has been in constant rotation in my head. As for albums, let’s say Birth Control’s ‘Operation,’ Atomic Rooster’s ‘Death Walks Behind You,’ and Wishbone Ash’s ‘Just Testing’ were on the turntable at the time of writing the music.

What kind of response do you hope to elicit from listeners when they dive into your music for the very first time?

Kenny: We were aspiring to make a record that sounds lively, is a good headphones album, and takes a few listens to get all the melodies and ideas. We kept the number of tracks and overdubs to a minimum to retain sonic impact and employed just enough sound design to add some fun to the proceedings.

Morgan: If there was a hope, it would be a feeling of familiarity with a dash (unspecified as to the volume of measurement) of something new and otherwise different.

Can you share any further details about the album-making process?

Kenny: We generally track live, and then do a bit of bass fixing immediately. And then, over the rhythm tracks, we take a little care in replacing the guitars, but also keep it simple and spontaneous. I’m in the left channel, Morg’s in the right. He takes most of the solos, and we don’t labor over it too much. I usually bash out the vocals for one or two songs in each night’s session, sometimes late at night with long-time MQ recording engineer, Daniel Avilá. To wrap it up, if the basic tracking wasn’t already done at world-class studio Flux in the East Village (most of it was), we still mix down through their ’70s Neve board and classic compressors. And tasteful mastering is always done at the top-of-the-line Peerless Mastering in Boston.

Morgan: As Kenny said, we track live in the studio. Once the tracks are committed to tape, the drums are done. James will then tackle his parts, which often he does not need to re-track, on account he is a pro. Other than possible ‘Closing in the Gap,’ I don’t recall many, if any, overdubs on his end. Then, Kenny and I will re-track (if needed) guitars and add overdubs (needed!), usually relegated only for leads and otherwise taste-making options but not adding what cannot be replicated live. I will say, this was the least number of times I personally labored over leads (Kenny and Daniel as my thankful witnesses), and some of my personal favorites were added to proverbial tape (prior witness comment again applies). After vocals are tracked, the fun begins. Kenny, Daniel, and I will spend as long or short as needed mixing, which is my favorite part of the recording process, if that wasn’t apparent. Then off to mastering, then into the ears of those who will listen.

<a href="https://mirror-queen.bandcamp.com/album/dying-days">Dying Days by Mirror Queen</a>

Last September, Tee Pee hosted the opening party for Desertfest NYC, and MQ played a handful of live dates. Will we see Mirror Queen on the road in 2025? Possibly here in Europe?

Kenny: I hope so! No plans yet, and it’s been a while since we’ve visited Europe. I’ve been a bit busy battling some health issues, reorganizing Tee Pee, and getting songs together for a few other bands I’m part of (that sound very unlike MQ) to take into the studio and onstage. And shit, man, that DFNYC night was a blast! It was locals Mustafina, Mirror Queen, Satan’s Satyrs, and Chicago’s Legions of Doom, the latter three which were riding on the brand-new releases you’ve mentioned.

Morgan: Desertfest was and always will be a blast. I was humbled enough to play two sets, one with Mirror Queen, then Satan’s Satyrs back-to-back. Going back to differences for a second. Mirror Queen is a bit laid-back compared to the relentless barrage of noise delved by Satyrs. And I love the contrast and to be able to provide my own stylings to similar but different groups. Hopefully, Mirror Queen will make it to Europe this or next year since my last jaunt with Satyrs, which was twenty-five shows driving ourselves in a van, mind you, only increases the appetite for traveling the world with a guitar.

How does the energy of your live performances compare to the studio recordings?

Kenny: I’d say we’re more rocking live and a bit more thoughtful in the studio. Like, you’re supposed to sweat and get a sore neck onstage, and as I said in the studio, we like to have some “headphone listening” appeal.

Morgan: I enjoy live shows and studio work equally. However, there is something about playing to and feeding off the energy of a hungry crowd that oddly cannot be replicated in the studio. I think Kenny summed it up quite nicely.