The Theremin Goddess Stars in a Brooklyn-Filmed Ode to Insomnia
“I got rug burn from walking on all fours for several hours,” says multi-instrumentalist Dorit Chrysler of crawling blindly through a Williamsburg loft when making today’s slowly enveloping music video to atmospheric new track “Avalanche.” It was filmed in Brooklyn by Danish artist Jesper Just and filmmaker Martin De Thurah, shortly after Hurricane Sandy had swept through New York, an environment Chrysler claims was a big influence on the feel of the video: “We made the place dishevelled, as if in the wake of some kind of unknown catastrophe.” The Austrian musician studied musicology in Vienna before moving to New York and collaborating with Strokes producer Gordon Raphael and Chicks on Speed among others, and sharing bills in her rock group Halcion with Echo and the Bunnymen, Marilyn Manson and Mercury Rev. In addition to her mastery of the theremin, she is in love with analog synthesizers such as the Moog Taurus bass pedal, which she will be taking to the Roskilde Festival in Denmark that starts next week. Chrysler wrote the pulsing “Avalanche,” which appears on new EP of the same name on Danish imprint In My Room, in the hinterland between the witching hour and dawn and today’s video was appropriately shot in one go from late afternoon until the wee hours. “It is about being on your own in this bubble, experiencing the avalanche of internal emotions while the rest of the city is sleeping,” she says. “Sometimes when you are very tired you tap into subconscious places that are usually guarded.”
Martin de Thurah, Copenhagen
Your biggest fan:
My grandmother. She calls me “prune”.
Ryan Gosling comes over for dinner and you’re cooking:
I would make him a simple Danish dish—a “smørrebrød.” And serve some pickled herring. We would enjoy it in silence.
Your secret nickname (or, your porn name):
It would be Højstrup, which is extremely unappealing.
The last dream you remember:
I dreamed I was 2D and picking up pineapples.
Your go-to karaoke song:
“That Joke Isn’t Funny Anymore” by The Smiths.
The look, outfit or fashion moment you most regret:
Camel print pants, worn in Indonesia in 1993.
The work of art you would most like to own:
If life could resemble any film:
Une Femme est une Femme by Jean-Luc Godard.
Director Martin de Thurah's Intimate Portrait of the Indie Sensation’s Haunting Lament
Canadian chanteuse Leslie Feist swirls and twirls through a monochrome kaleidoscope while intoning her sultry ballad “Anti-Pioneer” in a new video by Danish director Martin de Thurah. A four-time Grammy Award nominee and 11-time Juno Award-winner, Feist honed her musical chops with electro-pop iconoclast Peaches and the Toronto alt-rock band Broken Social Scene. Her Gonzales-produced debut album Let it Die catapulted her into the mainstream limelight, and in 2006 her track “1234” from sophomore effort The Reminder went to number eight in the US after being featured on an advert for the iPod Nano. De Thurah’s video was shot with a tiny crew in an old building in Mexico City while the pair had a two-hour break in the middle of filming the promo for Feist’s “The Bad in Each Other,” lifted from recent LP Metals. “We had a window of opportunity to shoot something else, which never happens,” explains De Thurah. “I had thought about making something very simple, complex and emotional with Leslie alone. I found the song very intimate, and wanted the video to reflect that.” Currently touring Europe until September, here Feist opens up to NOWNESS about working with De Thurah, her Canadian music buddies and her fixation on puppets.
Why did you want to work with Martin?
Feist: Martin leaps out as this person with a really strange, beautiful language of moving poetry that isn’t spoon-feeding anything, but allows for a darkness and a buoyancy at the same time. Everything he had done I have a huge appreciation for, so I sought him out to recreate the language of those short films.
Are music videos important to your message?
Feist: It’s an addendum to making songs. I have an aesthetic taste of things that are going to reflect into the music, but it’s not something that I can do. There are people who have worked really hard in developing their eye and it is fun to join forces and see what you can find in the middle.
Are you still connected to the Canadian crew of Mocky [musician and producer], Peaches and Chilly Gonzales?
Feist: Ha! Very much so. Mocky, Gonzo and I are in constant contact, and Peaches travels as much as I do so we find each other when we’re in the same city. They’re definitely my original musical family for sure, and Mocky, Gonzo and I still work together all the time. They co-produced my last record with me so that’s a natural old friendship that’s just adapted over ten years. When we work together the inside jokes are flying at all times, but there’s a core sensitivity. Sometimes you can disarm the seriousness of a situation and truly look it straight in the eye if you’re jack-assing around at the same time.
There seem to be a lot of puppets in your work over the years, including last year’s The Muppets movie in which you had a small cameo.
Feist: Ha, yeah! For a couple of years on tour I had a woman, Clea Minaker, with me on stage doing live shadow puppet shows. I don’t know where it came from, but a natural answer is watching Sesame Street and The Muppet Show as a kid implanted that good-naturedness. Though also making the inanimate, animate. Even taking a salt and pepper shaker and marching them around or whatever is something of a mainline to good-natured happiness.