cocoon
who
would have known : that a boy like him.
would have entered me lightly.
restoring my blisses.
who would have known : that a boy like him.
after sharing my core would stay going nowhere.
who would have known : a beauty this immense.
who would have known : a saintly trance.
who would have known : miraculous breath.
to inhale a beard loaded with courage.
who would have known : that a boy like him.
possessed of magical sensitivity.
would approach a girl like me.
who carresses.
cradles.
his head in a bosom.
he slides inside.
half awake / half asleep.
we faint back.
into sleephood.
when i wake up.
the second time in his arms : gorgeousness!.
he's still inside me!
? who would have known
?
a train of pearls, cabin by cabin.
is shot precisely across an ocean.
from a mouth.
from.
a.
from a mouth
of a girl like me.
to a boy.
to a boy.
to a boy.
"I've always been this punk who wants everything very real and very stark. This album is partly about creating a
cocoon, almost like a paradise that you can escape to. It's down to earth. It's dealing with the porridge and cup of tea."
[Ananova, 14th August 2001]
Eiko Ishioka filmography:
The Cell
(2000)
Bram Stoker's Dracula (92)
Closet Land (91)
Mishima: A Life in Four Chapters (85)
EIKO ISHIOKA
is a
revolutionary artist whose internationally acclaimed work for
stage, screen, advertising, and print media has made her one
of the premiere visual artists of the 20th century. Best known
as the Academy Award winner for costume design for Bram Stoker’s
Dracula, Eiko’s provocative and shockingly beautiful vision
can be seen on August 18th in The Cell, starring Jennifer
Lopez.
Eiko’s long list of credits includes the 1985 Cannes Film
Festival Award for Artistic Contribution for her production
design of Paul Schrader’s film Mishima, a Tony nomination
for the stage and costume design of the Broadway play "M.
Butterfly," and a Grammy Award for the art work for Miles
Davis’ "Tutu" album, to name just a few. Most
recently, Eiko brought her creative sensibilities to bear on
the conservative opera world with her costume design for
Richard Wagner’s "Ring Cycle," at the Netherlands
National Opera.
Eiko Ishioka was born in Tokyo and graduated from the Tokyo
National University of Fine Arts and Music. Her work is
included in the permanent collection of museums throughout the
world, including the Museum of Modern Art in New York. In1992
she was selected to be a member of the New York Art Directors
Club Hall of Fame.
[bio from newline.com]
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cocoon
release
march 11th
3 2 2 t p 7 c d 1
01.
Cocoon
– Album Version
02. Pagan Poetry – Music Box
03. Sun In My Mouth - Recomposed by Ensemble
3 2 2 t p 7 c
d 2
01.
Cocoon
– Radio Edit
02.
Aurora
– Music Box
03.
Amphibian
3 2 2 t p 7
d v d
01.
Cocoon
– video
02.
Pagan Poetry
– Music Box
03.
Sun In My Mouth
- Recomposed by Ensemble
Soft organs and Rice Krispies (Eh? - Cereal Ed) feature heavily on a very minimalist 'Cocoon', a beautiful love song featuring Bjork
whispering sexual lyrics over a track that To Rococo Rot would be proud of. Key Lyric: "A train of pearls, cabin by cabin, is shot precisely across
an ocean from a mouth of a girl like me/To a boy" Bjork reference points: 'Amphibian' ('Being John Malkovich' soundtrack)
[Joe Logic at nme.com]
The beat of "Cocoon" sounds almost like a needle scratching on a vinyl record.
How did you get that effect?
"Yeah, in that particular song the beat was done by Thomas Knak. He's Danish, and he actually did click noises from the synth. What is actually quite interesting is that I have one sample on this record -- and it's on "Unison" -- and it's from this band called Oval, who have been one of my favorite bands for a few years, and they actually DJ. [Leader] Markus Popp would actually take CDs and scratch them, and put them on the turntable machine; then he would play off of that.
And the good thing about that is, it's sort of conquering the fact that most people think that technology is cold because it has no mystery, and it's very calculated, and blah, blah,
blah.
So when you take technology and use the areas where it breaks, where it's faulty, you're entering a mystery zone where you can't control it. It's reacting more like an animal or a person to you, and you have to react with it. It's not like you tell it what to do and then it does it, like a controlled, cold thing. But you take a knife, scratch a CD, put it on, and it will skip. You don't know what's going to
happen.
I guess the same thing happens with guitarists. I mean, 34 years ago Jimi Hendrix or Pete Townshend would make everything distort. These guitar amps were not made for that. But they went into the area that the people who made the amp didn't want them to go because it would go out of control, and it would be wild again like nature, you know, and raw. I think you can find rawness and nature in anything if you just want to."
[CDnow, august 2001]
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