Jonna Lee and Claes Björklund have been quite the productive people since the last mentions of them on the 2020k blog. For starters, we now have confirmation on the biggest speculation of the entire Iamamiwhoami saga: it’s a joint project between Bjorklund and Lee. So, those background vocals we hear from time to time? Probably Claes. In addition to this reveal, we’ve found that the stunning visuals that accompany all of the duo’s music so far is Robin Kempe-Bergman. Agustin Moreaux provided the gorgeous set, costume, and make up aspects, and John Strandh aided in still photography and cinematography.
A slew of interviews have been released by The Guardian, Intro, DIY, Notion Magazine, Clash Music, Wired, Dazed Digital, that have shed light into the creative process behind the project, which basically involved Jonna blocking out any outside sources in order to concentrate fully on the artistic vision and creative outlet that Iamamiwhoami had become. Still at large are the full meanings behind the BOUNTY and kin series, but, sometimes things are best kept hidden. Jonna speaks freely about this in almost every article she’s been involved in thus far, noting that there are, of course, specific reasons and meanings to herself behind every single aspect of the Iam.. project, but she has left those definitions undefined in order for each individual to interpret the art as they wish. An encouragement of the imagination, if you will.
Jonna Lee/Iamamiwhoami interview highlights from various sources:
“I would say I’m the same person, but I guess I’ve found other sides of myself. I’m a happier person. I mean, I don’t separate myself from what I do because I’m living it. Hmm, yes.” – on her alternative rock releases 10 Pieces, 10 Bruises, This War EP, and This is Jonna Lee.
“It was just the way it had to be, I’m sorry to say. Now may he rest in peace.” – On YouTube member Shootupthestation’s involvement in the “In Concert” special.
ForsakenOrder.com was mentioned in the Intro Magazine article.
“At the core I’m a musician, and the growth of ‘Kin has developed into something that can stand on its own legs – musically, visually and as a whole” – on kin
“It was necessary to work in the quiet for iamamiwhoami to be able to continue to have a life. My identity was not hidden but neither articulated by me because what is relevant is the work we have done and the audience reflection of my identity.” – on the mystery
“There is no need for over articulation. Our audience is clever and I know their capacity. Their interpretations of what we do shape the course of the story.” – on the followers
“The name speaks for itself, it came from the whole project which is it’s own entity in some ways. There needs to be no creative boundaries to do what you have to do and to be that free. It was just a natural continuation of how to share what we are doing. We had to challenge ourselves to see what we could do with very little.” – on releasing through the To Whom It May Concern record label
In conjunction with this, there are kin screenings that have been put together by collectives in various places of the world and Iamamiwhoami have played at the Popaganda festival, as well as the Stockholm Music and Arts festival.
(Apparent setlist from the Popaganda and Stockholm festivals (please correct us if we’re wrong): N + Drops/Good Worker/In Due Order/Idle Talk/Clump/Sever/Play/Y/Rascal/T/Goods)
With two more performances coming up (one at Queen Elizabeth Hall in the United Kingdom and another at the FreeFormFestival in Poland), it’s pretty safe to say that the project is out into the world, thriving in full force, and staying busy representing its life to their designated audiences and beyond.
And I have been too. Recently, I released my debut EP titled 2020k EP under the moniker of 2020k to lovely reviews, performed two live shows in the Pittsburgh area, and am steady streaming through a backlog of articles that need to be written in displayed, as well as steaming ahead on the future. These have been some of the reasons why kin hasn’t been reviewed thus far and you can read about the entire process via a retrospective article that was posted here.
However, the biggest reason of the tardy article is that I wanted to sit with the album. I wanted to get even more engrossed into he world of Iamamiwhoami and to understand it from all formats. Currently, I’ve consumed the iTunes MP3 releases, the CD/DVD, and as of two hours ago the vinyl copy of the record has been purchased.
In opposition of this task, it was a goal to distance myself from the hype and immediate attachment that the songs and videos grasped upon me as they were initially released.
Also, although the album is currently available through the towhomitmayconcern website, its official release date is September 25th, 2012. So, technically if you go by this detail, we’re not late. That’s our story and we’re sticking to it!
Oddly enough, but something we picked up on, is that the Iamamiwhoami store is currently a sort of statement of material consumption. Along with semi-pricy versions of the physical CD+DVD/Vinyl+DVD combination packs, there are expensive underwear, socks, and shirts that can also be purchased through the outlet. No mention of the band, no mention of anything involving the music, just a black box on each product. While it’s a no-brainer that the music has been bought from the webstore, it’d be interesting to see how this case study matched up with the actual sell of apparel.
For now, 2020k hopes you’re enjoying all of the treats this project has been treating us with over the past year, just as we have ourselves. A proper review will be posted up as soon as possible and for now we ask that you revisit what we’ve written previously. A little preview? There’s an appreciation for “In Due Order” and we’re still fascinated after all of these months of listening and exploring.