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Thread: Holy Crap, she's back!

  1. #241
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    Setlist

    1.n
    2.drops
    3.good worker
    4.in due order
    5.idle talk
    6.clump
    7.sever
    8.play
    9.y
    10.rascal
    11.t
    12.goods




    I'd wanna see this indoors or at night, though. And the band needs to not dress like that.
    It was prolly hot, but caps and shorts don't fit into the way I want them to perform live, (because it's all about me )

  2. #242
    old school RageAgainstTheAoki's Avatar
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    Default Re: Holy Crap, she's back!

    Quote Originally Posted by HunterGather View Post
    Are you ever going to tie it all up in a bow and explain what it all means?

    – It gives me a bad taste in my mouth just thinking about it. It’s like sharing your innermost secrets; that’s not particularly attractive for anyone. I don’t think the audience wants that, much less me. It would make me feel extremely naked and exposed.


    So glad she said this^. The mystery is part of the charm as far I'm concerned.

    As for the live performances, Jonna sounds great live but I still think this concept has limited appeal as a truly live concert experience. Losing the narrative thread and the camera seems to be too much for them to overcome. I think they'd need a truly immersive experience to make this work. If they had some sort of unlimited budget, it would be great to see what they could do working with some talented scenic artist and lighting designer from the opera world. But that would take so much $$$.

  3. #243
    Stage Manager captncrzy's Avatar
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    Default Re: Holy Crap, she's back!

    Plus putting them on in the daytime is just odd.
    Odi profanum vulgus et arceo. I hate the unholy rabble and keep them away - Horace.
    Quote Originally Posted by Drinkey McDrinkerstein View Post
    Arcade FIre are a bunch of dicks, Deadmau5 is a dick, bands are dicks, David Bowie sucks dicks, Daft Punk is two human buttholes with semen for brains (that was loaded into a butthole from a dick that grew out of their moms), we're all dicks that fucked our moms assholes, God is going to put a giant dick down and fuck our mouths

  4. #244
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    Their next show in a month is at 9.30pm in Germany, so that will hopefully work out better.

    Anyhoo, new interview with The Guardian:




    In December 2009 a handful of music bloggers received an email from an anonymous account. The email had a link to a YouTube video called – rather snappily – Prelude 699130082.451322-5.4.21.3.1.20.9.15.14.1.12. In it, a naked woman was glimpsed curled up in a swirl of jet-black liquid, intercut with shots of blackened limbs emanating from giant oak trees while a soundtrack of ambient electronica burbled in the background. It turned out to be the first of six Prelude videos, generating a level of online intrigue that big-name pop stars can only dream of.

    With each new wonderfully creepy clip came more questions: What did the numerical titles mean? What was the significance of all the animal imagery? Why did the woman seem to be licking semen off a tree? And, most importantly, who on earth was this enigmatic siren? Names bandied about on music forums included high-concept pop stars such as Lady Gaga, Björk and, er, Christina Aguilera.

    As it turned out, our mysterious semen-licker was a Swedish singer-songwriter called Jonna Lee, in the process of reinventing herself as iamamiwhoami. Her transformation has been so convincing that, when I arrive to meet her in an ultra-modern west London hotel, it feels most incongruous. We should be in a forest, making pagan symbols out of twigs, surrounded by familiars. But with the lights off and the curtains drawn I find Lee, dressed head-to-toe in black with a shock of white hair, stood peering out of the first floor window at a fox that's curled up outside in the mid-afternoon sun. It stays there for the duration of the interview.

    I accuse Lee of summoning it here to keep an eye on us. "Hmm, yes," she says slowly, her blue eyes framed by massive fake blonde eyelashes.

    In fact, "Hmm, yes," is Lee's default setting when it comes to ending sentences. This is the first proper interview she's done under the guise of iamamiwhoami, and there's a sense that she'd still rather not give too much away. Questions about various recurring motifs that run throughout Prelude, as well as the Bounty series that followed, and the most recent videos for songs from her forthcoming Kin album, are all politely rebuffed.

    I ask her if she sees herself as the same person as the one who released two KT Tunstall-lite solo albums in her native Sweden under her birth name. "I would say I'm the same person, but I guess I've found other sides of myself," she replies. "I'm a happier person. I mean, I don't separate myself from what I do because I'm living it. Hmm, yes."

    Lee defines iamamiwhoami as a multimedia "entity" – one which, alongside her and music producer Claes Björklund, includes directors, designers and close friends. Its creation was a way for Lee to submerge herself in her own world, simultaneously inviting her audience to join her while also teasing them with only snippets of information. Her identity wasn't fully revealed until the 12th video, her face initially obscured by make-up and what looked suspiciously like cellophane.

    "Leaving space for everyone's imagination to run free is a big part of it," she says, "both in terms of how we communicate and also in not being overly clear what the message is. It's kind of like receiving a script for a movie and reading it while you're watching it." One of the main reasons for this lack of a defining message was the fact that Lee herself didn't really know what she wanted iamamiwhoami to be, hence the moniker. Was she aware of the fuss the early videos caused?

    "Yes. It was unavoidable but I just needed to close the door around me and think, 'OK, let's focus on this,' because I needed to develop it as some sort of form. I had to work out if it was reality or a brief moment. I knew that once all the talk had settled, the work would still be there, and I wanted to create a world where I could stay."

    While her videos are typically uploaded within weeks of completion, opening up a direct line of communication between artist and audience, there's still a sense of barriers being raised. In November 2010 she let one "lucky" person into her world after appealing to her fans to find a representative to appear in To Whom It May Concern, an hour-long webcast that opened with Lee driving off with the sole audience member in a battered Volvo and performing for him from the top of a man-made pyramid of cardboard boxes before luring him into a coffin and seemingly burning him alive. "It was just the way it had to be, I'm sorry to say," Lee explains. "Now may he rest in peace."

    There's a glint in her eye that returns when I tell her I'm concerned about the fact that a black cat that starred in a number of early videos seems to have disappeared. "Everything has its purpose and sometimes things fade away slowly and sometimes they reappear," she purrs.

    For all their intellectual posturing – the Prelude videos deal extensively with the myth of the mandragora officinarum, which claims that the semen of a hanged man produces the hallucinatory root – there's humour buried within. In the video for Play, for example, ridiculous-looking yetis dance around with a semi-nude Lee to the song's drip-feed R&B, looking like Hype Williams directing a racy episode of Harry And The Hendersons. Then there's the merchandise. Released to coincide with her debut album Kin, you can now buy iamamiwhoami pants. Apparently this is "a comment regarding the way we consume things" and fits "into what it needs to be for people to grasp it". Is she saying we'll understand where she's coming from once we pull on a pair of her kecks? "I think, definitely," she says. "I can't imagine anything more sexy than that."

    Sex seems to be on Lee's mind today, albeit in a typically abstract way. I ask her why she's decided to physically release Kin, given that the songs are already available to buy digitally and the videos have been online since the start of the year. From what I can gather, it's because when she played her first live show in front of an audience at last summer's Way Out West festival, something "happened".

    "There was a close encounter with the audience that started the process of making Kin, so I felt that it needed to be touched and held in people's hands," she explains. During the show, Lee writhed around on a giant pile of loo rolls – "It was a bed," she corrects, "assigned for action" – with her back to the audience but looking at a giant screen showing their faces. Lee talks about the album's "physical birth" and the "nine months of hard labour" that it took to create it. Noticing an extended metaphor looming, I suggest that maybe now she should be looking after the baby/album. "The audience needs to care for it." Is she giving it up for adoption? "It's always going to be my baby. I'm a very proud mother. I'm just sharing it."

    Given the mythmaking that's surrounded the project, it's testament to how great the songs are that Kin works equally well once stripped of its visuals. Lee's voice is delicate and otherworldly, weaving its way through warm synth blasts and creeping percussion. It's also impressive that she's managed to keep people's attention after that initial thrill of the unknown subsided.

    "I wouldn't have done interviews earlier," she says, as we get up to check on the fox. "It would have all looked like a big promotional campaign. I would have been a sad person for a long time. I can't say that I would have been here now. But it's evolved in a way that we can still do it." She pauses. "Hmm, yes."

    Kin is out on 10 September

  5. #245
    Coachella Junkie HunterGather's Avatar
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    They have a live show this weekend that was only announced like less than 2 weeks ago at another festival in Stockholm.

    And, new interview with DAZED DIGITAL:

    Born in December 2009, iamamiwhoami, like their name suggests, has always remained somewhat a mystery. A spiritual energy floating through the mind of their listeners leaving only symbolic debris to decipher their messages with. Behind the mysterious lyrics and soft electronic nuances lie Swedish singer-songwriter Jonna Lee and producer Claes Bjorklund. A cult following studies their every move, as drawings of animals, emblematic videos, locks of blonde hair sent to MTV’s James Montgomery and other clues surface. Dazed went straight to the source to speak to the driving force behind the project.

    DD: Could you tell me more about the visual aspect of the album and your videos?
    iamamiwhoami: Working the way we do, it’s always been about telling what’s in the creative mind and also the people that follow it. Everything has been done in real time so every time a production starts, it’s being released very soon after to keep the conversation with the audience in the present. It’s a chronological storyline of an evolution, from the very beginning up to now. I think the Internet is the place where you can do that. Kin is tying those two works together in the sense that it’s a physical thing that you can touch also.

    DD: You talk about this strong connection that you have with your audience, how do you hope to ‘embrace’ them with your music?
    iamamiwhoami: I feel like it’s an on going conversation and I hope they become more through it. There’s space enough for them to interpret and continue a pattern that’s been started. I’m hoping that even though everything is not literally spelled out that its still being understood.

    DD: If you were to live 100 years in the future and any form of technology was possible, what would you do to connect with your audience on a deeper level?
    iamamiwhoami: I’m already doing that with Kin and enjoy using technology although incorporating touch with sound would be incredible. Blending the physical with the digital might one day exist in the future, hopefully.

    DD: You’ve also released the album on your own label – To Whom It May Concern. What drove you to do this?
    iamamiwhoami: The name speaks for itself, it came from the whole project which is it’s own entity in some ways. There needs to be no creative boundaries to do what you have to do and to be that free. It was just a natural continuation of how to share what we are doing. We had to challenge ourselves to see what we could do with very little.

    DD: And what can we hope to hear from you in the future?
    iamamiwhoami: There’s a lot of communication from me all the time even though it’s not literal.

  6. #246
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    They did a show this weekend. Definitely looks better without the sun blasting.
    Still think they should do something with that cube. Like project pictures or video in/on it, rather than just colors.











  7. #247
    Coachella Junkie sonofhal's Avatar
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    Default Re: Holy Crap, she's back!

    Bought tix to see her in Oct. Should be interesting, if nothing else.
    Quote Originally Posted by JustSteve View Post
    well, for all intensive porpoises it is, will sell out within seconds tomorrow.
    Quote Originally Posted by korbinn View Post
    It's jsut dawned on me that I'm overly confident and a extremely ocd perfectionist.
    Quote Originally Posted by kroqken View Post
    I don't give a flying fuck about the Kardashians, I doubt they know who Belle and Sebastian are.

  8. #248
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    Ah yes, they have a UK gig soon.

    Interview with Clash Music:

    You’ve said in interviews that you initially concealed your identity because you weren’t sure what you wanted iamamiwhoami to be. How did you feel when you finally revealed who you where?
    I wanted to create undisturbed away from the noise together with my collaborators. It was necessary to work in the quiet for iamamiwhoami to be able to continue to have a life. My identity was not hidden but neither articulated by me because what is relevant is the work we have done and the audience reflection of my identity.

    Why is it important to retain an element of mystery?
    There is no need for over articulation. Our audience is clever and I know their capacity. Their interpretations of what we do shape the course of the story.

    Do you regard yourself as a performance artist, musical artist, video artist or artist?
    I’m leaving that up to others to articulate.

    You seem to be fascinated by the ephemeral and the fluid - in structures, identities and also sonically. Is this how you interpret the world?
    Challenging the conventional shape is necessary. The fluid brings new life.

    In your videos you explore the grotesque, carnivalesque and the uncanny – where do these images and ideas come from?
    The instinctive human behaviour is fascinating to me as well as to my collaborators. So is raw emotion as well as no emotion. The contradictions in our nature are many.
    In the Bounty series there’s a dramatic juxtaposition between the natural and the manmade.

    Was this a conscious decision?
    Yes. They represent two different realities.

    Is the visual aspect as important to you as the musical element? Are the two separable?
    The music is our foundation. The visualization of the music is an extension of it. Blending them together they create a new way of communicating for me. ‘kin’ can be experienced either sonically, visually or merged depending on what is preferred.

    Can you tell us about the dancing yeti in ‘Sever’? Is it an exploration of self and other, or something completely different?
    It represents a part of me and most others. Life with it is very much a delight. I have experienced the consequence of living without it. Which has the greater cost?

    Do you ever throw in motifs, themes and images for the sheer hell of it, or does everything have significance?
    Everything has its purpose. Sometimes the simplest setting can have the greatest meaning. What meaning my purpose has to you will differentiate in proportion I suppose.

    What are stranger, your dreams or your video art?
    It’s often difficult telling dream from reality I find.

    What inspires you?
    The world we have built around iamamiwhoami is solid. I feed off of that. Working without creative boundaries is a prerequisite for iamamiwhoami. That takes me places.

    There seems to be a lot great experimental electronica and avant-garde-inspired music coming out of Scandinavia at the moment – Fever Ray, Jenny Hval, Hanne Hukkelberg… Why do you think this is?
    The northerners are breaking out of their shells I think. So likeminded people that have similar references share their good work.

    You’ve described ‘kin’ as your child, the result of 9 months hard labour. Will you love your next child in the same way?
    All my creations are all equal to me. The question is - who is its next of kin?

    ----------

    And photo from upcoming interview with WIRED:


  9. #249
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    They've done a lot of interviews in magazines in the past month, but I didn't post because they were more or less the same.
    But here's some interesting stuff from a recent one:

    How did iamamiwhoami really start? Maybe Jonna Lee wasn’t satisfied with her own career and needed a change?

    It was sprung from experiencing convention in its purest form. There was a foundation of songs that had to be able to grow freely. I tore the formerly by its roots and started over. To physically visualize the songs has been an aim since long. I began experimenting with our visual collaborators.

    When you recorded the tracks in the studio did you have a clear idea of how it had to sound, or did it come with the studio process?

    The idea of “kin” started growing at our first live show in 2011 as is reflected in “; john” and “clump”. Its sound was the first to develop when the creative process began. It was created chronologically. “bounty” was created as it was shared, episode by episode.

    Why haven’t you included any tracks prior to “sever” (for example “; john” and “clump”) on “kin”? Is there a possibility they might be released on a physical format in the future?

    They are not a part of “kin”. They are the epilogue of the “bounty” and have a relevance in their own time.

    Do you think you made a big step with “; john” and “clump”?

    A lot of people consider them two of the best tracks/videos. I feel equal warmth for all our work. It is what it is: sprung from necessity.

    In November 2010, we had the opportunity to enjoy “In Concert”. How long did it take to record it? And what was the most difficult aspect of the process?

    “In Concert” was 1 hour and 4 minutes long. We prepared carefully for that night and our forest showed its better sides. Time was of an essence. Sometimes a good worker has to be willing to lose it all. And so he did.

    Do you have a big budget or are your ideas limited to a specific, smaller budget?

    During the first years of running To Whom It May Concern there was none at all. Now the work we have done has made it possible to continue even though it means working with limited means. The motives to why you are creating become very clear and that is something we value.


    --------

    A lot of her answers are vague and even though she's not her "character", she still kind of is in these interviews she's done.
    Last edited by HunterGather; 09-07-2012 at 02:54 PM.

  10. #250
    Coachella Junkie sonofhal's Avatar
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    Default Re: Holy Crap, she's back!

    It wasn't very good. Livened up a bit towards the end when the light show kicked in, but I was nodding off by then.

    If her concept is to not hold your interest, then top marks.
    Quote Originally Posted by JustSteve View Post
    well, for all intensive porpoises it is, will sell out within seconds tomorrow.
    Quote Originally Posted by korbinn View Post
    It's jsut dawned on me that I'm overly confident and a extremely ocd perfectionist.
    Quote Originally Posted by kroqken View Post
    I don't give a flying fuck about the Kardashians, I doubt they know who Belle and Sebastian are.

  11. #251
    zeezus amyzzz's Avatar
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    Default Re: Holy Crap, she's back!

    Maybe she should make an album of lullabies for insomniacs and children instead.
    Quote Originally Posted by guedita View Post
    Because fucking millenials that's what

  12. #252
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    Yeah, but I still wanna see them.

    They were on BBC doing a live session+interview.



    Live songs and audio interview:



    This yt video has Play and Goods, but they also did Kill and Idle Talk.
    Last edited by HunterGather; 10-11-2012 at 09:54 AM.

  13. #253
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    Their "BOUNTY" physical album will finally be released.
    I hope that phone song ends up on there.



    Also, iamamiwhoami is now on The Windish Agency, a booking agency that covers territories in America (US, Canada, Mexico and South America).

  14. #254
    Coachella Junkie Neighborhood Creep's Avatar
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    Default Re: Holy Crap, she's back!

    I can't stop staring at her crotch^

  15. #255
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    Lame. The cd/dvd won't have those unreleased songs or any of the interludes.

    But still, a physical release.




    And a new date in London


  16. #256
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    They posted a new short video.
    In the vid description, they list some shows coming up this summer in Europe.
    Still no U.S. shows yet. I feeeeel like maybe sometime this year...

    20130519 - Razzmatazz, Barcelona
    20130530 - Brixton Electric, London
    20130601 - Forbidden fruit festival, Dublin
    20130712 - Pohoda festival, Trencin
    20130719 - Melt! festival, Ferropolis
    20130721 - Latitude, Southwold




    Oh, also, the trailer for the Bounty cd/dvd.

    Last edited by HunterGather; 04-11-2013 at 01:46 PM.

  17. #257
    old school clumsy342's Avatar
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    Default Re: Holy Crap, she's back!

    As much as I'd love to see them, I seriously doubt they'd play in Portland. God, I hope I'm wrong.


  18. #258
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    Neat. They just did a new interview and was an interesting read on a few things (like touring outside Europe, the unreleased songs from In Concert and the prelude videos, and more).

    ---

    The show at Southbank Centre’s Queen Elizabeth Hall last year was your first non-festival gig. You and the band seemed a bit taken aback by the overwhelming response from the audience. What was that experience like for you?
    It was quite emotional and, yes, overwhelming, to be honest, being so close to the audience. And, yes, it was different to the other shows we had performed so it was quite amazing and it felt like a rare and unique moment.

    Were you surprised by the standing ovation you got?
    Yes but also relieved because we have never played to a sitting-down audience before.

    And were you aware that the venue would be a seated one?
    We wanted to try and do that because it is always interesting to challenge yourself with different venues and I hadn’t really thought too much about it becoming a big change and it was only once I stood there that I realised: yeah, this is something else.

    Similarly, while your other European dates are festival shows this summer, we’re getting a headlining performance here. Do you feel that you have a particular connection with the London audience which warrants this special treatment?
    [laughs] We have roots in England. There is a sense of home about London, to me. You folks are a lot like us so I guess, yeah, that’s why we are coming back. I enjoyed our performance there.

    You previously said that kin was inspired by your first encounter with your audience at iamamiwhoami’s Way Out West festival appearance in 2011. Have subsequent live experiences such as your Queen Elizabeth Hall gig had any effect on your current songwriting?
    Well, I don’t know yet because I haven’t come to the process of letting all of that go and working on new material, because we are doing the bounty delivery, the release of it. So I’m sure it definitely will have an effect on me because this whole release has been a big difference, for me and for the project. You know, playing concerts and being so close to… seeing the reactions of people, not having that distance. So it will definitely show.

    For your first London gig you opened the set by inviting one of your most prominent YouTube tribute artists, Unplugged70, to perform. There’s always been a strong link between iamamiwhoami and its fans. Have you considered involving fans in some way in any of the forthcoming gigs?
    I have not thought… well, how to say it… there must be a purpose for everything, as I always say in interviews manically [laughs]. There was… it felt so natural having him there because he’s English, first of all. Or, Scottish. And I just wanted him to open it. I couldn’t see it any other way. What will happen at this show I can’t say at this point [after our interview it transpires that Rex The Dog will be opening for the band at Electric]. But fans will always be involved in one way or another. And I like seeing them in real life.


    How did you approach plotting the live shows for the bounty release era?
    Well, when we started the tour preparations for kin we had this in mind already because I had already decided that I wanted to release bounty the way that we are now doing so it’s been in the works for some time, to be honest. So, yes, it’s prepared for. They belong together, both of them. bounty has existed prior to kin and it’s our history and right from the start it was clear to me how to perform these songs.

    With the emergence of bounty on CD/DVD format three years after its individual ‘chapters’ first came out, does it feel strange revisiting what was, essentially, the inception of iamamiwhoami?
    It feels good to give bounty the weight and attention that kin got because they are equally important to us. So, it feels natural in a way. It’s also good to focus on it in the physical world. It was different working on it when it first came to life because the songs were all created in real time and everything went very fast in the beginning, to be honest. And now everything has sunk in a bit more and I am really enjoying playing these songs now.

    We think we can guess what the answer to this question is going to be but… when you first started working on this project in 2009, did you imagine that four years down the line you’ll be, effectively, releasing your second album and touring extensively as a group?
    No… ummm… no. I didn’t expect any of it. But it’s all been a blessing in that sense because I was prepared for a change and, obviously, I wouldn’t have started this otherwise. It was a leap [laughs] – a giant leap. But I didn’t have any thoughts of where it was going. I tried to stay in ‘the now’. I’m still trying to do that. Yeah, it’s the way to go forward, really, to just keep in the moment.

    You’ve chosen ‘y‘ as the single to promote the release of bounty. Why this particular song?
    It’s a good representation of the bounty series and what the project stands for, for me. And as iamamiwhoami has sprung from necessity and all of the parts of what it has become today have come from that, so that song fits that in a good way.

    Before the individual songs from bounty first started coming out in March 2010, iamamiwhoami released prelude tracks that built up towards the series itself. They each contributed hints in terms of the storyline behind the series and its eventual name. Why are they not being included on the physical release?
    For me, the start of that series [of preludes] before bounty came to life is its own chapter. And it does not belong in bounty because bounty started with ‘b‘ and it was different from that. That’s a chapter and a source of inspiration from where we started and I want to keep that untouched. Not everything needs to be categorised or… no, that’s not the right word. Let me see… sometimes I need to think a little bit longer about English. Well, I guess, the short of it is that it is its own thing and it belongs where it is right now and who knows what might happen in the future. But it’s not a part of bounty.

    How did your remixes of the Moby and The Irrepressibles tracks come about?
    We share the same management with Moby and we have the same publisher as The Irrepressibles. The songs… they were requests for remixes and we listened and where there is room for creating something interesting and artistic it’s always fun to experiment. With both those songs there was room for it. And they are very different and the artists are completely different from each other. But we love creating like this.

    What do you make of the various remixes of your own songs?
    I like hearing other people’s versions of our songs. bounty had a remix for each song while it was being released at first, digitally, and the remixes we did then were more like alternate versions rather than remixes. I think you’ll see more and more remixes of our songs in the future. [A few days after our interview a Moby remix as well as a Joe Goddard remix of 'y' were unveiled].

    Do you have any plans to release music and footage from past and/or future live concerts?
    No. [pause] But I won’t say no to anything because anything is possible but a concert, for me, is this very rare particular moment that I want the audience to be able to keep and not revisit because also for us it’s something that just happens then and there and that’s magical so… who knows. But I am not planning on doing so.

    And what about doing another online gig like the one you streamed back in 2010?
    I think having that time to just experiment and invent and communicate with the audience… as soon as the time comes about then it’s always happening in some form. That concert took about six months to do, I mean to prepare for. And I’m sure that equal events to that will happen in the future. As long as there is a want and an urge for creating. As of now, there is.

    Speaking of that online concert, you ended it with an unreleased song titled ‘.’ which we, your Queen Elizabeth Hall audience, caught a studio version of playing innocently in the auditorium just before you came on stage last year. Are you likely to ever release it?
    Yes, you noticed that… well, that song, it was the start of this whole project for me and for Claes [Bjorklund, fellow iamamiwhoami creative] and also for our visual collaborators. That was the first song that then became this project. It keeps coming back to us, it’s a good description of the project. And I don’t know if I will be releasing it – there are plenty of versions of it both in my head and in reality. But… you know, working in real time as we do is a specific way of recording and writing – everything has its time and when you’ve written something and it’s there you know if you want to release it. And if you don’t want to at that point then the time passes and the moment might be gone… but it might come again, as well.


    Is there a possibility that you might play it live?
    I might do it, yes.

    What about shows outside of Europe? Is that part of your plan?
    Yes! As soon as possible, I really want to meet the audience in other territories. We have sort of left that out but touring is a big production and we are still quite new in the concerts arena so it’s not the easiest thing to travel with the whole production. That has been the reason why there haven’t been concerts outside of Europe, yet.

    Finally, what – to you – is the most enjoyable element of touring?
    Well, hearing the music and feeling it come to life – it’s so different from creating it. It is an equal love, both, but doing it live is just such a grand experience. And also meeting with the audience is equally overwhelming each time and that’s the biggest thing, definitely, seeing the response coming to you once it’s actually happening. It’s amazing.

  19. #259
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    Tonight in London










    Last edited by HunterGather; 05-31-2013 at 10:49 AM.

  20. #260
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    Default Re: Holy Crap, she's back!

    Looks cool.

    A Hollywood Forever Cemetery show would be the perfect setting here in LA.

  21. #261
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    Default Re: Holy Crap, she's back!

    Hollywood Forever would be the bee's knees.

  22. #262

    Default Re: Holy Crap, she's back!

    I really really like her. Thanks hunter for helping me discover her.
    Certain songs they get so scratched into our souls

  23. #263
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    iamamiwhoami perform in USA for the first time.

    iamamiwhoami are headlining SymbiosisGathering, their first non-European event and first American performance overall. The festival will take place in Woodward Reservoir, Oakdale, California from September 19th to September 23rd, 2013. Stage location and time table to be confirmed.

    http://symbiosisgathering.com

    I'd imagine some more gigs around the same time, hopefully, in North America (!)

    -----

    edit: Why does the forum censor the word "Symbiosi s".
    ********* Gathering Festival
    Last edited by HunterGather; 07-17-2013 at 08:28 AM.
    Quote Originally Posted by stinkbutt
    I know it's hard, but try not to turn into GPS. It is just unfortunate for us all.

  24. #264
    Stage Manager captncrzy's Avatar
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    Default Re: Holy Crap, she's back!

    Long story. Basically their organizers are dumbasses.

    Shitballs. I hope she comes close by but we'll have just gotten back from Bestival and Amsterdam and catching a gig is going to be tough, especially since I will be out of town that same weekend.
    Odi profanum vulgus et arceo. I hate the unholy rabble and keep them away - Horace.
    Quote Originally Posted by Drinkey McDrinkerstein View Post
    Arcade FIre are a bunch of dicks, Deadmau5 is a dick, bands are dicks, David Bowie sucks dicks, Daft Punk is two human buttholes with semen for brains (that was loaded into a butthole from a dick that grew out of their moms), we're all dicks that fucked our moms assholes, God is going to put a giant dick down and fuck our mouths

  25. #265
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    I'm sure they'll do L.A. and NY and things of this nature.
    Quote Originally Posted by stinkbutt
    I know it's hard, but try not to turn into GPS. It is just unfortunate for us all.

  26. #266
    old school RageAgainstTheAoki's Avatar
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    Default Re: Holy Crap, she's back!

    I would pay good money for an immersive concert experience like the one they filmed in that forest, but a regular gig with these guys just seems so.. flat. I mean, who are we kidding, I'd totally go if they played So Cal.

  27. #267
    Coachella Junkie HunterGather's Avatar
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    Default Re: Holy Crap, she's back!

    iamamiwhoami

    Sept. 24th
    Brooklyn Masonic Temple - New York
    Quote Originally Posted by stinkbutt
    I know it's hard, but try not to turn into GPS. It is just unfortunate for us all.

  28. #268
    Coachella Junkie sonofhal's Avatar
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    Default Re: Holy Crap, she's back!

    I'm in NYC then. I'd go to it if she wasn't so shit.
    Quote Originally Posted by JustSteve View Post
    well, for all intensive porpoises it is, will sell out within seconds tomorrow.
    Quote Originally Posted by korbinn View Post
    It's jsut dawned on me that I'm overly confident and a extremely ocd perfectionist.
    Quote Originally Posted by kroqken View Post
    I don't give a flying fuck about the Kardashians, I doubt they know who Belle and Sebastian are.

  29. #269
    Peaceful Oasis TomAz's Avatar
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    Default Re: Holy Crap, she's back!

    BUT MYSTERIOUS YOUTUBE VIDEOS
    Quote Originally Posted by efrain44 View Post
    Anyone know who the guy in the Cardinals jersey is? I've seen him in pictures on the board and I thought I saw him this year.

  30. #270

    Default Re: Holy Crap, she's back!

    Quote Originally Posted by HunterGather View Post
    iamamiwhoami

    Sept. 24th
    Brooklyn Masonic Temple - New York
    Tonight. Woot.

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