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I think it was just being in a room on my own and feeling less self-conscious, I guess. I could just noodle about for hours and hours and hours, without feeling like I’m boring the Official if You Can’t Win Don’t Play Shirt In addition,I will do this tits off someone else. [Laughs.] So that was quite helpful.There’s a real sense of joy and a celebration of pleasure across the whole album—did the freedom of how it came together inform that in any way, do you think? I’d wanted for quite a long time to make something that was much more rhythm-based, beats-based, straight-up dance-y and poppy, all of those things, and I didn’t always feel like it was appropriate with Goldfrapp for various reasons. And there’s always a bit of humor among all the seriousness, especially on this album—there’s a real sense of the surreal and the fantastical. But also, I think it was just great timing. It’s funny how these things work out.

How did all of those words you mentioned—the Official if You Can’t Win Don’t Play Shirt In addition,I will do this surrealism, the fantasy, the humor—inform the visual world you built around the record? It’s always a real mishmash. It’s a bit like with the music, I have so many reference points and sounds and colors whizzing around in there—things that are quite retro, but then things that are also very contemporary. In terms of musical production, especially, I wanted it to feel very contemporary. For the visuals, I worked very closely with Mat Maitland, because every time I listened to the music I saw lots of his colors—I just felt like he’d be able to bring it to life. Photo: Mat MaitlandIt was always exciting with Goldfrapp to see the way in which you’d reinvent this 360-degree world from the ground up with every album. Does this feel like another reinvention? The visuals and the music always go hand-in-hand for me, even if sometimes it doesn’t quite come out the way you planned it to. With the videos for this album, there really was no planning, as we used AI for the backdrops. I always knew that we were going to use AI, as I’m very fascinated by AI. I liked that idea that you’re sort of telling it what to do, but actually, it just does its own thing anyway. In the video for “NeverStop,” where you get the worm fish hand, that was a complete accident, but somehow it fit really well with the song. There was that element of surprise, which is always great. It’s often the same when I’m writing music. You have one idea about something, but you usually end up with something completely different. I love not quite knowing how something’s going to turn out. That’s the beauty of working with other people as well, and probably why collaborating has always been so exciting for me—the energy of a complete stranger coming in to shake things up. Is that why you love old synthesizers so much? You can input what you want, but you never really know exactly what’s going to come out the other side…

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