MisterWives' Mandy Lee - aka Cherry Bomb - just released "Myriad Reflector," a new single inspired by the original name for the disco ball. The synch/pop-core track pays homage to her hometown of New York City, reframing dark memories into flashes of fun, light and fondness.
"The multitudes of tiny, glittering, fragmented mirrors sparked the idea of how much we need the broken pieces to let the light get through," shares the artist (IG: hernameischerrybomb). "Much like our own experience the good the bad and the painful jagged parts soften with time, and you learn to embrace all sides."
The music video for “Myriad Reflector” was directed by frequent collaborator Matty Vogel, and puts Mandy and her crew in a busy subway car, where she performs the track, turning the space into an energy-filled dance party.
According to Vogel, the video was shot in just two days, and while viewers get the feeling of it all taking place on a Brooklyn-bound subway, the imagery was actually captured on a set in Los Angeles. A second day was used to shoot Mandy as she dances around gritty New York-styled neighborhoods - also captured in LA.
To shoot the project, Vogel called on cinematographer Tim Toda, who used an Arri Alexa Mini for the subway sequences and a Sony FX3 to capture Mandy dancing on the city streets. A Freefly Ember was also used to capture some high-speed photography.
“I think they were standard speed primes,” says Toda of his lens choice. “I typically like to use [the Alexa] because I always feel like the colors are really easy to play with in post, and really get the image that we want.”
The Sony FX3’s small form factor made it easy to shoot Mandy guerrilla-style on the street, with Toda hanging out the window of Vogel’s car for some shots. The Freefly Ember high-speed camera presented a few challenges – one being the need for considerably more light than the other models used for the shoot.
“There are extreme slow-mo moments in the video, and that was really fun to experiment with because I had never used that camera,” Toda shares. “It was a pretty niche high-speed camera, and it requires a lot of light, so there's a lot of experimentation - kind of like shooting blind and hoping for the best. We found some really great moments that Mandy was able to grab and cut.”
Vogel adds that a prepared shot list helped keep the project on track.
“[It] was obviously super helpful,” notes the director. “I've found through experience that a shot list - when you're wrangling like 25 people - is extra helpful. The day was amazing. It went great. Tim and I have worked together for a long time, and Tim actually use to work with Mandy as a tour photographer years ago. The set was really fun, and everyone is close friends and has a good synergy to make everything happen.”
Vogel handled the edit himself, putting an initial cut together in Blackmagic Design’s DaVinci Resolve and then sitting down with Mandy to make further tweaks.
“I'll usually do like a first pass, just to get the shape of it,” he says of his editing process. “She was super stoked. All the footage was amazing, so that makes it super easy. Then…she helped so much with the pacing and the musicality of it, like hitting the beats. She's such a big part of the process. She has the skeleton of it in her head to begin with, which is amazing.”
Christopher Medina performed the color grade, giving the video its contrasty and saturated look, while also creating uniformity between the different camera formats.
“Christopher Medina was amazing,” Vogel states. “He did such a good job. We had three different cameras, plus some stock inserts, and he matched everything so well. I was blown away by him.”
Vogel also credits Toda’s camera work and the work of chief lighting technician Justin Usami, whose team programmed a lighting sequence that made it look as if the subway car was in motion.
Cherry Bomb will make her solo festival debut at All Things Go: NYC 2026 on September 27th.