Polachek is not, however, tied down by this – she weaves in and out of these more intense emotions with joy, touches of absurdity and silliness in her music videos, and an apparent self-awareness in her lyricism. She is an interesting artist within the PC Music family, no Hannah Diamond of pure hyperrealism but an artist with one foot strongly in this world. This can be seen not only through her continued work with producer Danny L Harle on her own music, but also through her transference of collaboration with many artists who also sit within and around that space, such as A. G. Cook, Charli XCX, Umru and Oklou.
There is no doubt to almost anyone paying attention to popular music right now that Polachek is accelerating through this lockdown straight into pop stardom. In this journey there is no compromise involved. Caroline Polachek isn’t diluting her artistic vision for any sort of broader appeal, she is rather bringing you into her own world as it steadily stretches itself outwards, slender-limbed into new spaces.
As an artist, she is currently going through a process of writing new material, as well as testing out new music to live audiences for the first time as shows return. This is a moment that is not just about the new. However, these shows see Polachek consolidate a relationship with an audience – many of whom, paradoxically, haven’t seen her live before but are deeply familiar with her. A large part of her journey in her solo career and its growth has in fact happened after the success of her debut album, Pang, where lockdown tightened its grip and we holed away listening to music.
We speak as she settles into a new apartment. It is within this shifting landscape of boxes and through the digital echoes of a Zoom conversation that we discuss these themes of past, present and future, where we as individuals and collectives sit, and our journey between them.