The same year, in promotion of the film, Rolling Stone asked ΛVICII about his collaborative process with Madonna in 2015. They destroy you.” ΛVICII’s own endless experience with dosing himself to keep up with the lifestyle peddled by what it meant to be a fixture of the EDM “industry” is manifest in a documentary about his touring life called Avicii: True Stories, released in 2017, detailing “the stress of life on the road led the Swedish superstar to multiple hospitalizations–for inflammation of the pancreas linked to excessive drinking, for a burst appendix and for a gallbladder that needed to be removed.”
But there’s going to be a short circuit, and that’s the illusion of drugs, because they give you the illusion of getting closer to God, but ultimately they kill you.
I keep saying, ‘Plugging into the matrix.’ If you get high, you can do that, which is why a lot of people drop acid or do drugs, because they want to get closer to God. Starting with the first track produced by ΛVICII on the album, “Devil Pray,” there is an eerie foreshadowing to the toll ΛVICII’s own life had taken on him as Madonna explained the background of the song to Interview as follows: “…it’s about how people take drugs to connect to God or to a higher level of consciousness.
AVICII TRUE TOUR PROFESSIONAL
With their professional relationship established, Madonna eventually tapped (not sexually) ΛVICII to produce a large bulk of the songs that would become the crux of the “Heart” aspect, thematically, of 2015’s Rebel Heart. In addition to the fact that her album was released on the same day that Ultra kicked off, March 23rd, the promotion of her “Girl Gone Wild” single in the form of a new remix from ΛVICII (billed as Madonna vs. ΛVICII instead of simply “ΛVICII Remix”) was also the ideal moment to showcase the musical synergy between the two. And in 2012, her alignment with ΛVICII at the Ultra Music Festival to promote the release of her then most current album, MDNA, couldn’t have been more well-timed. From “Bedtime Story” (produced by Bjork–as a favor to Nellee Hooper, she’ll remind you) to “Music” (produced by Mirwais Ahmadzaï), Madonna has repackaged her love of the dance floor time and time again.
The difference between her and ΛVICII, however, was that she never gave into the pressures of the “lifestyle.” Herself a fixture on the underground club scene during peak New York cultural history–the early 1980s–Madonna’s affinity with electronic and dance music has taken many shapes and forms over the years. If anyone can empathize with the grueling nature of a meteoric rise and the tour life associated with it, it’s Madonna.
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