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You’re incredibly vulnerable when you expose something so personal the first few times. Jenny Hval: It’s really scary having people hearing and interpreting and reacting to what you do. I think it’s a maturity thing – having got a few records behind you, you probably have a neater relationship with that? Having other people hear what I’ve written is all quite new to me. I do have a strong idea of that intention but it’s still a learning curve about how much explanation I need and want. I want to nip that feeling in the bud of wanting people to get my intention all the time. I’ve still got quite an immature attitude to what I’m writing, because I’m very surprised by what I say. Harry Burgess: It was illuminating to me. “Everyone is vulnerable and that’s a big part of art, so why not be in it?” - Jenny Hval Some of those annotations are not really my thoughts, but the thoughts that came up between the two of us talking. I’m in two minds about doing tonnes of interviews – I always end up thinking, ‘Wow, is this now becoming the way I think?’ – so this Genius conversation that I had with Sasha was very well-researched and really interesting. I didn't really have a problem with doing the Genius annotations, mostly because I was interviewed by Sasha Frere-Jones, who’s an amazing writer. But it stays sacred no matter how people interpret what I do. Even my meaning isn't sacred to me, unless there’s some kind of reference to some poetry or some artwork or some kind of memory that I really love – that’s kind of sacred. How important is your intended meaning? Is that a sacred thing to you? That’s something I’d love to do, but there’s also this idea that you should say everything you need to say within your art that it should be self-contained. Harry Burgess: I noticed that you’d done a feature on Genius where you annotated your words. Listen to the remix below, and read on for a discussion between Hval and Adult Jazz’s Harry Burgess about writing music, gender identity, and vampire menstruation. So I took these moments that I really like the sound of and I went from there.” Her forthcoming album Blood Bitch takes a more improvisational approach to last year’s apocalypse, girl and is loosely informed by vampire movies and exploitation films. “I tried to make a remix by restructuring of the words, to just go: I wanna see what happens if I look at the lyrics and restructure it and then put the vocal together in that order,” Hval explains, “But that sounded crazy, and not very interesting. When it came to remixing the song, a natural pick was Jenny Hval, the Norwegian singer-songwriter and composer who has interrogated the perceptions of gender, devotion, and self across a handful of records released both under her own name and previously as Rockettothesky. The record’s title track is, in the words of singer Harry Burgess, about an idealised gender archetype “that we all carry around in the back of our minds”. “Even to subvert it, the archetype has to be firmly present in you,” Burgess says, “No one is immune to gender shame, immunity is curated and learnt, and often arrived at intellectually through lots of unlearning.” Their debut album Gist Is earned them fans from Björk to David Byrne, and earlier this year the Leeds-based four-piece returned with Earrings Off!, a mini-album for Tri Angle Records (home to experimental acts like The Haxan Cloak and Evian Christ) that saw them embrace a more electronic direction, marrying rubbery, Arca-esque beats to their leftfield songwriting. Adult Jazz are amongst the most distinctive bands in the UK, crafting playful pop songs with lyrics that approach masculinity, religion, and morality from a unique perspective.