![]() Even with collaboration – finding ways to be on the same page, while making the most of any personality clashes. ![]() I feel very different from SOPHIE as well, because I’m all about friction and struggle and not being fully prepared, while still being pragmatic. I’ve unintentionally created loads of friction in my work-flow, just because I’m such a tweaker and I really like to get into the details. It’s funny that you mention SOPHIE – she said something to me once which I think about all the time, which is that she is always looking to have as little friction as possible between what she’s thinking and feeling and what she’s making. Making music is where she experiences the least friction. So, I think I would give myself more ease. The irony with that is I feel like “struggle” is a quality I really seek out in other vocalists, but I have such a hard time hearing struggle in my own voice. Whenever I hear myself pushing for something and not quite getting it. You know the way most people feel about when they hear their voice – even their speaking voice recorded – they kind of cringe? I have that reaction whenever I hear myself struggling to hit notes. Your natural, unmodified voice does things that actually sound impossible to me, so I was wondering: if you could make any scientific or magical change to your voice, what would you do? This is maybe slightly more about evolution, but about seven years ago when I was first working on music with SOPHIE, we were talking about our vocal production and how it could eventually result in a transhuman modification of our own vocal cords. That was around the same age that I started banging out Disney songs on the piano by myself when I thought no one was listening, so around that age was my sort of melodic awakening. I realised that I had a special connection with hearing intervals. Then she’d play any other note on the keyboard and say “What is this note? What is this note? What is this note?” And even as a six year old I could tell her “That’s an F sharp”, or “That’s a D flat”. My parents put me in piano lessons as a five and six year old, and I had this really cool teacher who played a game with me where she’d have me stand in the corner facing away from the piano, and she would play a C and she’d say “Caroline, this is a C”. That was a bit of an awakening – where I realised that oh, maybe the connection I had with it was a bit special. COOK: I like the issue theme, ‘Let’s Evolve’, in general, and I’m wondering if there was a specific moment growing up that sparked your interest in music, or if it was something that happened gradually?ĬAROLINE: Music was always so magical and so deeply compelling for me, but I think there was a moment when I realised that not everybody felt that way. Cook to discuss finding a new sense of freedom, hypnotic hieroglyphics and the evolution of the music industry. Cook throughout his back-to-back solo debut albums 7G and Apple.ĭuring a brief moment of pause in their dynamic schedules, Polachek sat with frequent collaborator A. In March, she duetted with Christine & The Queens on sensual smash-hit La Vita Nuova, made a ghostly appearance on Oneohtrix Point Never’s “Long Road Home”, and collaborated with A. And yet, despite the universal pause that many industries have been forced to take this year, Polachek has shown no signs of slowing down. Her debut release, Pang, in late October last year didn’t get to enjoy the full breadth of touring intended for it due to the unforeseen coronavirus pandemic. ![]() Across such a constantly evolving body of work, one thing is for certain – she is inarguably one of the era’s most compelling vocalists. She’s classically and operatically trained, but her experimental sensibilities in production and songcraft would have you thinking otherwise, making beats for Beyoncé and screaming at swans included. Polachek’s powerful, iridescent vocals have always been her signature: lithe and airy on ‘Bruises’, her breakout single with Chairlift saturnine and angular as Ramona hypnotic and commanding in her latest form. This article originally appeared in ‘The Let’s Evolve’ issue of BRICKS, available to purchase from our online store.Īfter 12 years and three albums fronting the Brooklyn indie band Chairlift – plus two concept-projects on the side as Ramona Lisa and CEP, and now a critically-acclaimed debut album under her own name – you’d perhaps expect Caroline Polachek to have finished her musical evolution. MUA Sophie Gia Moore assisted by Jordan FX STYLING Danielle Goldman assisted by Mars Montana PHOTOGRAPHY & CREATIVE DIRECTION Vasso Vu
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