Gainsbourg explains, “We started with ‘Master’s Hands,’ which has a sort of African beat, and then we did ‘In the End,’ which is very melodic and much quieter, and then we did ‘Heaven Can Wait,’ which is more like a classical pop song. So in that same [first] session we went in three different directions.” Beck’s telling of the early sessions echoes Gainsbourg’s: “I pulled a bunch of songs out. And then I wrote a few, with her in mind, but when we spent time together they changed because I got more of a feeling of where she wanted to go. We got in the studio and I could see all the possibilities.”

This is the first time Beck has ever been so involved in another artist’s work. He brought in many of his regular collaborators, including Joey Waronker and James Gadson on drums, Brian LeBarton on keyboards, David Ralicke on trumpet and Beck’s father, David Campbell, for string arrangements. Though Gainsbourg’s unique voice is instantly recognizable throughout, her vocal performances here are as varied as the material. IRM is Gainsbourg’s first album in nearly four years, following 5:55, which Because/Atlantic released in 2006 to much acclaim, selling half a million copies worldwide. Featuring collaborators such as producer Nigel Godrich, Jarvis Cocker and Air, 5:55 established Gainsbourg as a unique singer and recording artist.

Gainsbourg is simultaneously coming into her own in both the music and film aspects of her career. The release of IRM will immediately follow the film that garnered her the Best Actress prize at the most recent Cannes International Film festival: Lars von Trier’s controversial Antichrist (October 23, IFC Films).