A Journal Of The Dark Arts
“The Most Photographed Woman On The Planet”, details the hollow existentialism of a fashion model, presumably from the position of an adoring fan – an isolated outsider taking comfort in magazines, to get through the silent nights. “The Most Photographed Woman On The Planet” joins the ranks of Duran Duran’s “Girls On Film” and the Sneaker Pimp’s “Loretta Young Silks”, in songs detailing the odd contradiction of being known and loved by everybody, yet still having the same yearning as everyone else.
Both Duran Duran and Sneaker Pimps are interesting sonic touchstones, as Blood Sugar Summer falls somewhere in between. They are touted as “doomwave”, which is basically a 50/50 mix of ’80s prom slow dance romanticism and heavy distorted guitars. The tags also read “Gothic” and “Synth Pop”, and in my day, that’s what this would have been, but there are some modern updates, little flourishes of auto-tune, the guitars being more leaden then usual.
I would also equate “The Most Photographed Woman On The Planet” with ’80s futurist crooners like John Foxx and Ultravox, along with David Sylvain and Japan, a comparison i made last time i wrote about BSS, as well, i was startled to note.
Of course, you have to be careful when mixing genres like this, like a case of selective breeding, because not only can you inherit the merits of each style, but there is a tendency to succumb to the pitfalls of each, essentially bringing out the worst of both worlds. That is not the case with Blood Sugar Summer, however. It’s easy to imagine teenagers in eyeliner slow dancing to this one. “The Most Photographed Woman On The Planet” is essentially metal-tinged, gothic pop music, perfect for late night drives, with the windows cracked, or alone in yr bedroom at 2 am, unable to sleep, taking comfort in pictures of beautiful people, and imagining being among them.