Brooklyn-based alt-pop band Edith Pop is the plastic automaton of a 1960’s socialite, the outer skin of a fashion-obsessed suburban teenager covering an infinite void, a rich housewife in the sedative haze of a handful of valium. On the flip-side, they’re channeling the minimalistic genius of The Velvet Underground and Nico. They’re making dance music that as effortlessly yanks listeners onto the dancefloor as into reveries about Karl Marx’s Fetishism of the Commodity. Front-woman Laura Hajek stands doe-eyed before the crowd in her four-inch heels before violently throwing herself on the floor, thrashing and writhing across the stage while cooing I’ve got so many shoes / All I want is you. In an instant, the crowd transforms from concert-goers to window-shoppers, peeping toms, and sugar-daddies. The exhibitionism of her body and the lyrics demands voyeurism, and Edith Pop gets what she wants. It’s unclear whether the appropriate response to the end of their brilliant set is bursting into applause or throwing bags of cash. I met up with enchantress Laura Hajek to chat about psychopaths, demons, and Andy Warhol’s Factory.
Well my best friend Tim and I started making music together. I used to go on tour with his band called Mathematicians. We went all over the country and one day he’s like ‘Why don’t we just make music together?’ So he used to live on this big farmhouse on 250 acres of land, and I would go out and visit him on this farmhouse and we would spend like three days. On the first day we would just get like really wasted and he would set up a drumbeat and I would go off over that, and the next day we would go through it and be like ‘Ugh that’s terrible’ or like ‘Oh this part is okay’ and edit it down. We built the project around that collaboration.
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