Companion / Braids / Kevan Funk / 2016
“Companion,” the song and video we released last week, is another part of my healing. It's a song that deals with the aftermath of my family finding out about the sexual abuse. It's about how everything can change in a moment, and suddenly you’ve lost it all. It's telling my then-stepbrother that this had nothing to do with him—something I’ve always wanted to share with him. And it's a song that deals with the battle one faces when they begin sifting through the hurt, the memories that were hard, or the moments that they miss. Within us, there’s a damaged person, and then there’s the person who survived. Both exist, and when our courageous half is patient with the weak and empathetic to the sore, we begin to heal. ➡︎
A formal element that was inherent in this concept of reflection was the idea of duality, which proved to be another important component of the video. The setting (the use of the domestic space juxtaposing natural space) was a key part of this. As well, setting the video in the desert was a nod to the fact that Deep In The Iris was written partially in the desert and partially tuck away in the woods [...]. ➡︎
"We had to prove to ourselves that we could build a prefab house and so we embarked on an experiment for ourselves and on ourselves," says Marmol. The firm built the prototypical Desert House as a vacation home for Marmol, his wife, Alisa Becket, and their daughter, Emilia, born shortly after the completion of the house. The house is located atop a sparse hill in Desert Hot Springs, a resort and retirement community near Palm Springs known for its soft spa waters and its seasonal harsh winds.
"I’ll never forget the day the house arrived," recalls Becket. "It was four in the morning, the sun was coming up and eight modules arrived on eight flatbeds. There was this huge crane and they pieced it together like a puzzle. It all took one day, from dawn to dusk. It was spectacular."
The modules arrived in one day, but the total construction took around seven months, four spent preparing the site and foundation and three completing the house after installation. ➡︎
"At night, it feels very remote and you can't see or hear the neighbors," she says. "Only the coyotes howling." ➡︎
◼︎ Reclamation Through a Microphone: Braids’ Raphaelle Standell-Preston on How Songwriting Helped Her Process Sexual Abuse / Raphaelle Standell-Preston / Pitchfork / 2016
◼︎ Braids 'Companion' by Kevan Funk / David Knight / Promo News / 2016
◼︎ Desert Utopia / Frances Anderton / Dwell / 2009
◼︎ Prefabulous / Michael Webb / Los Angeles Times / 2005