Catching Up With Lykke Li
Lykke Li was in her physical therapist’s office last week, being treated for an agonizing dislocated shoulder, when she first got word. And the news was so uplifting, she got over that pain almost immediately. U2 had just stunned the music world by announcing that their long-awaited new album Songs of Innocence was not only ready for release, but initially would be offered to fans for free on iTunes. And there it was for all to hear as the set’s closing processional—“The Troubles,” the duet Li had recorded with Bono a year and a half earlier and nearly forgotten. And she hadn’t told anyone about the honor, either, outside of her management and a few close friends and family members. So she was positively jubilant when she phoned a day later to discuss the coveted collaboration, plus her recent Phil-Spector-plush album I Never Learn, the third in a naïf-to-adulthood trilogy that began with Youth Novels in 2008 and continued into 2011’s percussive Wounded Rhymes.
Paste: How on Earth did this U2 thing happen?
Lykke Li: I don’t know! I got a text from Danger Mouse [Songs producer Brian Burton] a while back, going “Hey—do you want to sing on this U2 track?” And I was so busy that day and I was in L.A., so I was just like “Alright. Sure.” And I did it [alone] in the studio with him. And I think then they went back and forth and changed the key a bit. But I was in London this summer to play Glastonbury, and I got called back, like “Do you want to sing again?” And the [U2] guys were all there this time, so Bono was like my choir director. It was really interesting.
Paste: What did you learn from a huge star like that?
Li: Well, he’s very funny. And I think you learn that in the end, that—to be an artist— we’re all the same. We’re all searching for music, and we’re like little children who still get excited about it. About music and dreams and things, you know? But whenever I do something, I kind of never expect anything out of it. Like, I just did a film with Terrence Malick, which I have no expectation that I’m ever actually going to be in it or anything. But I do it for the experience, you know? And then you have to just let it go.
Paste: Speaking of dreams, you were recently doing some Jungian dream work. What is that, exactly?
Li: I guess it’s like analyzing your dreams, and also in one way connecting with them. Because when you’re analyzing your dreams, it’s almost like you enter a heavier dream state, too. So every night, I have these heavy, trippy dreams. And I use them in my art.
Paste: Is there one crazy recurring dream that haunts you?
Li: Yeah. I have several different dreams. Sometimes, I’ll dream a lot about snakes, which is a bit annoying, but it’s also very powerful. The snake is almost like the highest spirit animal—it represents change and transformation. So I dream a lot about that. And then probably like most people, I have the one where you’re on the highway and you’re in a car that you can’t control. So there’s no way of pulling the brakes. And there are many ways to find out what your dreams mean.
Paste: Through this process, you were trying to better yourself. What did it teach you?
Li: I learned that there’s so much in our subconscious that we’re not aware of, and that everything we’ve been through—even the most mundane things, or the smallest things, especially in your childhood—leaves an imprint. So it would be silly not to try and find out more about who you are and what made you that way. I feel like maybe I was a poet in my past life.
Paste: Have you considered writing some poetry books?
Li: Yeah, for sure. But I feel like that’s something to do when I’m older. I still have so much more to live, so I can then write about it. So I’m saving that for my golden years.
Paste: How was it working on this as-yet-untitled Malick project in Texas?
Li: It was wonderful. And it reminds of what I’m doing already, with my art, with my music. And when I’m doing my little self-directed videos or performances. It’s all about staying open and spontaneous and free. And that was what I learned from him—to be open. Or “to be like the wind”—that’s what he told me.