Caroline Polachek Loves Mess

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Caroline Polachek Loves Mess
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For her mucky, bold, feminine new album, carolineplz gets primal. Read rachel_handler's profile

wasn’t out to scandalize the zoo. She made the three-hour journey from Los Angeles, where she was deep in final-edit mode for her new album,to the San Diego Zoo Safari Park, a wildlife preserve in Escondido, with the purest of intentions: She wanted to see. He’s the world’s first successfully cloned Przewalski’s horse, an endangered breed with a fun little mohawk that needed some scientific intervention to survive.

The mood is cheerful, for now: she and I, two extremely polite zoo staff members, and a photographer. Polachek is particularly moved by the mud around us, which has oozed and twisted into new shapes after the recent torrential rains; the zoo team describes this as “a mess,” but she longingly calls it “mud architecture.” “A lot of the motifs I’m playing with on this record are about using elemental, primal textures.

Its video begins, she explains, with “me having an orgasm on a cracked terracotta floor.” It’s a sonorous orgasm — Polachek, who sounds like Dolores O’Riordan swallowed Enya and Björk, stretches her otherworldly,vocals over each ecstatic note. It’s deliberately exaggerated, cheeky even, telegraphing a kind of irreverence for which Polachek rarely gets credit.

Polachek, 37, has spent nearly two decades in the music industry, seamlessly shifting from early-aughts indie-band girl to esteemed songwriter and producer to concept-album artist to a solo artist writing and producing avant-garde electro-pop under her government name, all while singingand starring in Loewe campaigns on the side. She has an effortless, slightly haunted prettiness that’s been historically difficult for music journalists to describe without sounding as if they want to kidnap her.

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