Polachek is, contrived as an oyster with its pearl serving as her lover, concentric within the shell she imagines to be herself. It’s clear she is an aesthete as well as an artist.Īll of this bounty is, of course, in reference to romantic and sexual desire. Some shots appear plucked straight from the canvases of Titian and Caravaggio, chiaroscuro enveloping Polacheck as she reclines atop decadent fabrics. This abundance motif has a distinct visual corollary that takes shape in the song’s accompanying music video, which teems with images of weirdly erotic grape eating and stomping, as well as Cleopatra-esque milk baths. This allusion to sonnets is just one of the classical, renaissance elements stitched in the tapestry that is “Billions.” Later, Polachek ornaments the track with lush abundance: “Cornucopia/ yeah my cup overfloweth.” “Sexting sonnets/ under the table/ Tangled in cables,” Polachek sings in the first verse. “Billions” is without a doubt psychedelic, but sexy is the more apt descriptor. The release of her latest two singles, “Billions” and “Long Road Home,” commence Polachek’s bifurcated dip into strange and ineffable waters.ĭuring an appearance on Charli XCX’s podcast, “Best Song Ever,” Polachek expressed her interest in music she describes as “psychedelic sexy nonsense.” Listeners received a taste of this in appetizer form last year, with the scintillating and cryptic “Bunny Is A Rider.” Who is Bunny, and why can’t the satellite find her? The jury is still out. In a tweet that arguably casts Charli XCX’s established anti-music industry polemic in dubious light, the hyperpop mainstay made transparent her intentions to release more commercially palatable music in the hopes that it would supplant a “platform to bring more avant garde music to the mainstream.”Ĭaroline Polachek, despite being a close friend and frequent collaborator of Charli XCX, subverts her more recent mainstream success - earlier this month she began touring with Dua Lipa - in favor of experimentalism.
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