Norwegian musician, artist and novelist Jenny Hval announced her new album, Iris Silver Mist, out on 2 May. Iris Silver Mist is named after a fragrance made by the nose Maurice Roucel for the French perfume house Serge Lutens. It’s described as smelling more like steel than silver. It is cold and prickly, soft and shimmering, like stepping outside on an early, misty morning, your body still warm from sleep. A perfume, with its heart notes and scented accords, shares its language with music. Both travel through air, simultaneously invisible and distinct. ‘To Be a Rose’ is the first single from the album.

Throughout Iris Silver Mist, perfume continues to turn into smoke, mist, and music. On lead single, ‘To Be a Rose’, Hval half-speaks, half-sings to the beat of a drum machine: “A rose is a rose is a rose is a cigarette.” Roses and cigarettes are romantic forms of wishful thinking, transporting you someplace else. Of the track, Hval says: “’To be a rose’ was written as a restless pop structure. It has a chorus, with chords and a melody, but each chorus sounds slightly different, like we are experiencing the melody from different seasons, decades or even different bodies. The clichéd rose metaphor in the song is equally restless. It can change shape into a cigarette and then evaporate to smoke. My mother and I (two restless humans) are both present in the song: ‘I was singing in my room, she smoked on the balcony/Long inhales and long exhales performed in choreography.’ If about anything, ‘To be a rose’ is about how one thing becomes another thing, how we all come from somewhere and someone, and how this is stranger and more powerful than we think.” 
 
The song’s accompanying video is composed of footage shot on various tours from 2015-2024 and edited by Jenny Merger Myhre, who handled visuals on tour in 2015. “Often we performed on stages or in places that had no screen, or even no projector,” says Myhre. “As a result, what I filmed would often not be visible for the audience, and so the act of filming became the performance. Using an old VHS-C-camera, I would film parts of the shows as a ritual of seeing and being seen. When we did have a screen, the camera was directly outputting to the video projector, and I loved the moment of going from ‘live footage’ to rewinding into backstage moments, preparations, and previous shows, allowing time travel to happen in real time.” 

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