merlin n karen

Merlin as teensImagining who would portray Merlin characters as teens– revised and updated. (Thank you Noothive!) William Moseley as Arthur Pendragon Skandar Keynes as Merlin Thea Lamb as Gwen Dianna…

merlin n karen
merlin n karen

merlin n karen
merlin n karen

merlin n karen

merlin n karen

merlin n karen
merlin n karen

Every great partnership has to begin somewhere. For Karen O and Danger Mouse, it was a drunk dial in 2008.

At least, that’s how half of this duo featuring the queen of the aughts rock revival and the versatile Grammy-winning producer remembers it. Karen O drew a blank when Danger Mouse (born Brian Burton) brought it up late last month at Electric Lady Studios in Greenwich Village, where they worked on their new album, “Lux Prima.”

“I got this phone call, and you were like, it’s Karen O. I was like, what?” Burton said. His flummoxed collaborator at the other end of the couch slowly recalled what had happened: After years of saying they wanted to work together but only meeting briefly, Karen O had seized the moment.

“I get excited about things after a couple of drinks — then I’m like, yeah, I’m going to call him now!” she said. “That’s so me, too,” she added and let out the Karen O cackle, a high, sharp peal of laughter.

Sipping tea in an upstairs studio at the storied recording complex, both musicians were in Clark Kent mode, Zen and studious. (To be fair, this is Burton’s forever mode.) Since 2001, Karen O — short for her last name, Orzolek — has been best known as the frontwoman for the trio Yeah Yeah Yeahs, a stage-devouring, beer-spraying punk who can swing a microphone around her head while nailing every note with an ecstatic grin on her face. Burton was a cross-genre producer searching for his niche when

“I’m on a vision quest of sorts: What does it mean to be a woman artist in her 40s? And how can I lay it down so that’s like, something [expletive] awesome,” Karen O said a few days later at a tony Lower East Side hotel that sprouted up two blocks from the tiny Mercury Lounge, where Yeah Yeah Yeahs played their first show, opening for the White Stripes. “It’s not a paved road, it’s not a well-beaten path,” she added. It’s “find your way through that wilderness and write us a postcard.”

Karen O compared working with Burton to when she wrote her “psycho opera,” a decidedly noncommercial art project called “

Karen O chimed in: “That’s what I want to do. After all these years.”

So the first thing they did was make a 12-minute song, the lush, groovy “Lux Prima” (it later got a haircut to nine minutes), following Burton’s process: Come in with nothing and make something. They worked five-hour, two-week shifts in Burton’s Los Angeles studio so Karen O could stick to Django’s schedule. (While she defines downtown cool for a generation of New Yorkers, Karen O now lives in L.A., where she doesn’t have to schlep a stroller up subway steps. And Burton, a longtime L.A. resident, has relocated to New York.)

Because the “Lux Prima” material was the first original music Karen O had written since giving birth, “I was really wondering what would be streaming out of me after that experience,” she said. “I felt more deeply connected to the cycles of life and like, consciousness. And I had a deep sense of love that was different.”

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