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I was going back and forth, vacillating on that,” she says when I ask if taking these old demos into a studio to rerecord them had ever crossed her mind. Presumably, a track like ‘Maps’ started out in a similar way, and look how well that turned out once it was given a good meal. ‘Visits’, ‘Day Go By’, ‘Native Korean Rock’ and the particularly faint, closing ‘Singalong’ all feature melodies that are beautiful but fleeting. But it’s also down to the unfulfilled potential of some of these songs. Part of that stems from what we consider Karen O to be, versus the shy, unassuming woman who arrives at our photo shoot completely alone and suspiciously punctual. It’s hardly the record that anyone was expecting from the new millennium’s Iggy Pop, and accordingly it’s left some fans frustrated.
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They are without flesh and skin, because they were never intended to be heard by anyone else, just as a diary writer doesn’t make pretty letters that live under the bed. Just as they get going, they fade to nothing.
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Some of the tracks were pretty much written as she sings them most refuse to repeat themselves like conventional pop songs do. ‘Crush Songs’ is a deeply personal record, from its subject matter (real life infatuations with four boys of note, including the man O would go on to marry in 2011) to its pimply, unprocessed presentation and lone acoustic guitar. It’s been an understated tour for what she calls “a small, little record”, in venues her band outgrew even before their debut album was released in 2003.ĭemure in a ball gown and uncharacteristically still, O has spent the last couple of weeks watching people make out to her songs her threadbare, scratchy almost-songs, preserved in their newborn state by an eavesdropping tape machine. I can’t imagine there’ll be much of that tonight, at O’s second and final London show in support of ‘Crush Songs’. Of course, she did all of that come show time, dressed partly as an emerald green dragon in purple leggings, with flames burning up her Cons. I remember that O appeared more bashful than the starstruck kids – not what I was expecting after three years of watching her screech across stages in wrecked Chuck Taylors and tattered mini skirts, pumping sweat and posturing with a devilish grin of smeared lipstick, her glittery eye shadow smudged and on the move across her face. I was arranging a photo shoot with Yeah Yeah Yeahs and three teenage fans who’d won a competition to introduce the band on the main stage that evening. I briefly met O in the summer of ’06, as a wide-eye intern at Reading Festival. Or, in Karen O’s conveniently symmetrical case, when they “live how you’re supposed to live.”įor O (born Karen Lee Orzolek to a Korean mother and Polish father), this golden year fell between 20, and it was then that she wrote and recorded ‘Crush Songs’, a collection of home demos that would become her debut solo album some eight years later, released September 2014 via Julian Casablancas’ Cult Records. Twenty-seven, in case you haven’t heard, is an important year for rock stars.