View Iframe URL. She asked director Michel Gondry for the bear, natural textures like wood and leaves, and an effect that mimicked animation.
It tries to unite the same seeming opposites as Post : the city and nature, modern technology and the human body. Sometimes she seems to try to shake off the ridges of digital fur sprouting from her skull, other times to gleefully will the transformation forward. And never rawer than here: the boundaries of pain and pleasure are explored through close-up images of volunteers being pierced, cut with blurred and manipulated images of penetration and oral sex. Unsurprisingly, the video did not get MTV play.
The real rock and sand used for the video were collected in Iceland, while the playful rock spirits are crafted from foam covered with plaster and encrusted with barnacles, with hungrily licking tongues added in CGI. She is someone who just seems to constantly engage with the world and a lot of the time, the world actively wants to make it sound like she is an Icelandic fairy godmother, rather than a real human being.
Does she actively release vinyls the colour of slug puss and star in insane arthouse films? Of course she does! But society has often put her in the box of a spaced-out, paparazzi-attacking, swan dress-wearing proto-pixie dream girl who has made it through life by deals with Cthulhu rather than talent. Listen to her in any interview and it is clear she is not just one of the most important musical artists of the last century, but one of the most interesting artists across any discipline in the last century too.
She released an app at around the same time that allowed you to experience the album as a kind of educational, ambient solar system. It was so wacky and yet came from such a place of knowledge and ability.
I was smitten. Even in her fifties she continues to push the boundaries of what any of us expect, working with queer innovators such as Arca, the designer James Merry and making the incredible VR accompaniment to what many might argue is her magnum opus, the heartbreaking Vulnicura. Even on her latest album, Utopia , she is putting out songs I am still hearing at 4am in converted industrial buildings: most artists who have worked for as long as her begin to lose the plot about now.
Because she is still out there, in the world, playing remixes of top 40 hits in Brooklyn lofts, saying hello to people in parks, forever making art that reflects a world she still participates in. View Iframe URL. It is also, probably, her most outwardly dance-friendly album. Many jazz musicians have taken it and made it their own, often finding a kind of early s lounge energy in it, including funk trombonist Nils Landgren and the ever brilliant Corinne Bailey Rae.
It is impossible, hearing it now, to not notice how fresh it sounds — other artists try to make it sound more like an artefact of turn-of-the-millennium alternative music. What sounds like a strange, glistening fairytale is the story of a woman practising violence and cruelty just so she can go back to her partner and love them compassionately.
The way it builds the sort of pastoral, polyphonic qualities of Icelandic music with electronica is an out of body experience. The Dobie Rub remix does something that many of the best do: on the surface, it seems to steamroll a song no one else could make and try to fit it into the conventions of sun-dappled American hip-hop. Play this at your next summer hangout and see the shock on people's faces when they discover this isn't Tribe.
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