Electronic duo O Future (previous OOFJ), comprised of Katherine Mills Rymer and Jens Bjornkjaer, have released their second studio album Voyeur on One / Half – PRESS HERE to listen. Highlighted by “Smell You,” which rocketed to #1 on the Hype Machine, “Telephone,” which previously reached #2 on the Hype Machine charts and “Spy” which premiered via Earmilk, “Crystal Shiny,” which features Sune Rose Wagner of The Ravonettes and “Clothes Off” which features Matt Popieluch of Big Search, Voyeur combines O Future’s analytically-created indie-electronic riffs with their signature orchestral symphonies, blending the sounds to create a collection of 11 contemplative and lyrically driving songs (see track by track below).
Since meeting in New York while pursuing two creatively different careers, the duo began working together on music almost serendipitously and have since released two albums under OOFJ, have directed, shot, produced, and starred in their narrative-driven music videos, scored Ai Weiwei: The Fake Case by Andreas Johnsen, as well as an upcoming feature length documentary by Weiwei, and an upcoming documentary on Grammy nominated Lukas Graham, who is the biggest selling artist ever from Denmark. With their new venture as O Future, the duo is actively working on scoring Andrew Van Baal’s upcoming feature film Ambrosia, creating an algorithmic opera with the graphic design team SULSOLSAL and a violin concerto with The Concert Master of the Royal Danish Opera.
Voyeur Track by Track:
“Spy”
“‘Spy’ is about avoiding true intimacy. A slinky thriller movie. Living life like someone is watching you and that someone is you. Like the line in the song: I’m not here, I’m just spying. Essentially you are a secret agent in your own life. You’re looking but not feeling and kissing with your eyes open.”
“Smell You”
“It’s about flirting. That moment before the actual event is the sexiest moment, the unsaid attraction between to people, the hidden secret thing between two people, all the animal- butt -sniffing- nonlanguage turn on. Sometimes and, would say most times in life, those moments are the most fecund and delicious.”
“Voyeur”
“Exactly as the title suggests, ‘Voyeur’is about getting pleasure from watching, viewing and judging, unblinking in the corner. Looking through the keyhole at other people. The perfect stranger’s vanity avatar is our global turn on. Turned on by perfection and despair, Voyeur is our attempt at dancing at the event horizon, looking at perfect skin.”
“Telephone”
“Literally, ‘Telephone’ is about not having enough friends and yet hating phone calls and lying down on heavy carpets that have been freshly vacuumed. The only good and spicy phone calls come from a new lover, an old lover, a crush or your best friend.”
“Crystal Shiny”
“Afternoon garden parties with good looking people and the anxiety that produces. Specific to Los Angeles BBQ’s with art people. Hanging out like a life size business card, standing near the food table with sweat on your upper lip thinking that perhaps this is the loneliest place in the western hemisphere, everyone knows you suck, everyone is having private thoughts about your pores or your shoes. ‘Crystal Shiny’ is a battle cry, or lament for introverts everywhere, and the hardcore sadness of the summer time party and the people that populate
it.”
“Stay”
“Time heals all they say and yet time destroys all of us ultimately. The track feels like ecstatic -religious desperation, grooving and aching towards a medieval choir cleansing the saints, trip hop and heavy, sweaty romantic cinema of the 50’s and 60’s.”
“Clothes Off”
“As the title suggests, this song is about sex. Sexual intimacy and avoiding it. Before my marriage I thought the whole business was something to view and analyze in third person, so I could discuss with my friend/s afterwards and to not feel or desire, but rather be desired and watch your partners desire, like a shape-shifter alien trying to be human, mysterious and above all of it at least in theory.”
“Bronze”
“Keeping that social mask up, the agreeableness and glint in the eye. The other side to the song is defining myself, and as always, the circular narrative. Time, time, time… give me back myself I’ll trade you anything even that gold ring.”
“Jump in the Lake”
“The softer human side of O Future. This is a love song. ‘Jump in the Lake’ is another way of saying whatever happens we can always find each other in that special place lovers do, the first moment of want or falling in love. The song progresses to lovers becoming partners, best friends and old together.”
“Control The Rain”
“Cape Town, cocaine and shame. Driving the hills of Vredehoek in Cape Town, half mad with joy and a nagging sense of decay. Eyeless, skull map/ I’m not shy is the feeling of madness, the loss of shame and fear and a reference to the Antjie Krog book of poetry Country of my Skull which I read as a teen. The radical self-confidence of the chemicals charging through a warm body, downtown Cape Town at 3AM on a weekday, feeling like nothing could be better, except that you are also holding the failure of euphoria… I want to die.”
“The Absolute”
“All about the binary! In a world of non-binary, of complex grey grading, The Absolute is that clarity, that purity that is ever elusive. It’s heart breaking and godlike to have yes’s and no’s that have no devil’s argument. Another reality where justice never went unpunished, and injustice was not a thing. The heavy orchestration, breaking into the clouds of a fools wish to start this whole human thing all over again.”