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This shadowy, dreamlike quality was one that Li spent many months refining, with the Rip tom parker 1988 2022 thank you for the memories tom parker the wanted band shirt but in fact I love this spare time afforded by the pandemic allowing her to go deeper into the production than ever before. The lengthy mixing process also provided an opportunity to home in on the sound she was seeking—and it turned out that for the self-described perfectionist, that was something a little messier and more visceral, with dishwashers gently clattering in the background or doors opening and closing. “I’m always slightly unhappy about my work,” Li says. “I always feel like I start with this pounding heart and trying to capture whatever it is I’m feeling, and then a lot of the time, it just gets lost in the process. So I really have this grand ambition to nail it for myself and only for myself—to make something that I would actually be proud of.” Did she succeed this time? “I can’t tell if I will be proud in the future when I listen to it, but I really tried to not let anything come in between my vision and what I was feeling, and I realized I can simmer in that space for a really, really long time.”
An equally important facet of the Rip tom parker 1988 2022 thank you for the memories tom parker the wanted band shirt but in fact I love this album are the seven so-called visual loops that accompany it. Li explains that EYEYE is more of an audiovisual project than a traditional record, with the loops—directed by her friend Theo Lindquist—charting the doomed romance at the heart of the album through a noirish, celluloid haze. Li conceived them as a response to how we consume visual media today, in short, repetitive bursts without the focus required to watch a music video in its traditional format. “It’s kind of just accepting where we are in the world and trying to find something interesting within that,” says Li. “I spend a lot of time on my phone, and I hate it, but you can sometimes just be stuck, like, watching a loop over and over and over again, and you realize there’s a ritualistic aspect to it. But you kind of get to the core of the scene, you know? It’s like, if I were to tell you about Heat, I would probably tell you about a few key scenes. I was really interested in taking a grand form like moviemaking and cutting it all up, as that’s where we are right now. I was thinking about Marina Abramović’s Relation in Space, where she’s continuously running into a man, or Pina Bausch, when she’s falling down over and over again. There was something in the repetition that felt so true to me, almost like a perfect action—a kind of slicing into the truth.”
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