Torna alla musica in prima persona, stavolta cimentandosi con la canzone in forma autobiografica, Sally Potter: il suo nuovo album si intitola Pink Bikini, è stato prodotto assieme a un piccolo gruppo di amici e collaboratori - tra questi Fred Frith, Laura Snowden, Giacomo Susani, Paul Clarvis, Misha Mullov-Abado e Hattie Webb - ed alterna ricordi di personali conquiste e ribellioni sociali nella Londra degli anni Sessanta a prese di posizione sui temi più drammatici dei tempi attuali. Realizzarlo ha rappresentato una bella sfida, soprattutto per il drastico cambio di ruolo rispetto a quello per lei assai più consolidato di regista cinematografica: "Writing and arranging the music for this album - and finding my singing voice once again - has felt like coming out. I am so used to being the invisible hand behind my work - looking, not being looked at; hearing my writing spoken through the mouths of actors (and happily so) - that suddenly being audibly present feels like a strange and even dangerous exposure. And whilst music making has always been central to my life and work, this is different. I have felt compelled to write these songs, with a deep longing to sing them. These last turbulent years of climate change awareness, with a global swing to the right, deep divisions between different social groups and between the generations, the disorienting pandemic, and the casual cruelties common on social media, have led me, like many others, to want to prioritise human connection and simple truths. These songs, so much more modest in scale than a feature film, try to do just that."
Ne accompagna l'uscita il video di uno dei primi brani a esser scritti per l'album - presente su YT in due versioni leggermente diverse - segnando anch'esso una sorta di ritorno alle origini: "Black Mascara was one of the earliest tracks I wrote for Pink Bikini, an album of songs based on a look back over my shoulder to the despairs and longings of my turbulent teenage years; a time of change: the end of childhood, the beginning of life as an adult. Making the video was a different kind of return. It needed to be made in the way I made films when I first started as a teenager. Back then I had no money, training, or equipment. The need to invent and imagine things out of nothing became part of a philosophy I later named ‘Barefoot Filmmaking’. It meant working with minimal means, borrowing gear, and working with the goodwill and energy of a few beloved friends and co-conspirators."
https://sallypotter.com
