Lizzie Weber Announces New Album, Shares New Song “Day Pleaser”: Listen Now

Lizzie Weber has announced a new album, Wraiths in the Wake available on April 24. Below listen to a new a song from the album, “Day Pleaser”, exclusive to FRONTRUNNER today.

“Day Pleaser is a raw confession of a people pleaser realizing their hunger for acceptance was never selfless but rather a quiet act of self-betrayal. This song is probably one of my favorite tracks on the record, not just for its universal theme but for its magnetic soundscape and drastic, dramatic chord progression. When writing it, I knew I wanted there to be vivid interplay between lead and background vocals, creating the sense of a narrator speaking with their own subconscious. It’s that hard and uncomfortable look in the mirror. It reflects the moment we face when we realize we’ve silenced ourselves just to keep the peace, and finally see the cost of it going too far.” – Lizzie Weber

On Wraiths in the Wake, Lizzie Weber swings for the rafters and lands somewhere thrillingly unsettled — an electrified third act that plays like a rock opera with a pulse and a past. These songs move as if haunted, tracing the afterimages left by love, trust, and selves that didn’t survive the fall. It’s a record steeped in echoes, where loss isn’t an ending so much as a presence that keeps leaning in.

Written mostly in Weber’s St. Louis home and pieced together across time zones, Wraiths in the Wake has the charged, hand-built feel of a band assembling in the dark. Weber stacked her own background vocals at home — a chorus of selves — while the album’s muscular spine took shape in Seattle with producer and multi-instrumentalist Nathan Yaccino (Pearl Jam, Soundgarden, Norah Jones). Remote contributions only widen the frame, with Eli Moore, Abby Gundersen, John Taylor, and Markéta Irglová drifting in and out like voices on a shortwave signal, adding human grain to the static.

At its core, this is a record about aftermath — betrayal, grief, and the wreckage that follows when something vital disappears. Death here is elastic: the end of a relationship, a belief, a former version of the self. Weber sings to the ghosts directly, confronting the almosts and the maybes, the roads not taken and the ones abruptly closed. Rage and tenderness coexist uneasily, circling the same questions: how long do we carry what’s already gone, and what does it cost to finally let it go?

The music mirrors that emotional volatility. Weber’s voice cuts and climbs, floating above thick guitars, spectral synths, and melodies that refuse to resolve where you expect them to. Her layered harmonies aren’t decoration — they’re narrative, a Greek chorus murmuring doubt, memory, and resolve. The album moves cinematically, but its most powerful moments arrive in close-up, when everything drops away and the ache is unavoidable.

Wraiths in the Wake doesn’t ask for passive listening. It pulls you under, then invites you back. Weber isn’t offering answers so much as a shared reckoning — a place to sit with what lingers and hear it speak. Like the best records, it stays restless after the needle lifts, echoing long after the room goes quiet.

To save the album follow this link: https://found.ee/wraithsinthewake