During the mid 90s Anohni started solo; after originally producing songs with Blacklips Performance Cult and other late-night cabarets she had a number of songs to work with. In 1995 she assembled a backing group—the self-styled Antony and the Johnsons—and began to focus on the musical side of her performances. The group built up a cult following at hip New York clubs such as the Kitchen and Knitting Factory. Anohni then received a NYFA for “performance art/emergent forms” which she used to record the Johnsons' debut album “Blue Angel”, that remained unreleased until Current 93 leader David Tibet signed Antony and the Johnsons to his Durtro label. The cast list of musicians on the album, released under the title "Antony and the Johnsons" in 1998, included Baby Dee (harp), Francois Gehin (bass), Todd Cohen (drums), Charles Neilson (guitar), and a number of string and woodwind players. This album later were reissued in 2000 and in 2004 by Secretly Canadian.
This collection of modern torch songs highlighted Anohni's soulful, multi-octave vocals and the Johnsons' graceful chamber pop arrangements, reaching a peak on "Cripple And The Starfish" and "Divine", the latter a tribute to the late transvestite movie star. Further recordings by Antony and the Johnsons emerged in the early years of the new millennium, including "I Fell in Love with a Dead Boy" and a shared EP “Live at St. Olave's” with Current 93, recorded live at Saint Olave's Church in London, England.
In early 2001 released 3 song EP "I Fell in Love with a Dead Boy", included covers of Mysteries of Love (Appeared originally on the film Blue Velvet) and Soft Black Stars.
Split EP included two new songs from the Johnsons, the first being You Stand Above Me, only one minute and thirty-six seconds long but containing all the melancholy and drama one would expect from the Johnsons. The other new track was The Lake which was an 1827 poem written by Edgar Allan Poe beautifully adapted to song. The Johnsons appear with Current 93 again on a 7”, with side B including the song Virgin Mary. This was limited to 500 copies, both released May 12th, 2003. By now the line-up of the Johnsons featured Todd Cohen, Jeff Langston (bass), Jason Hart (piano), Julia Kent (cello), Joan Wasser (violin), and Maxim Moston (violin).
It was around this time that Lou Reed heard the “I Fell in Love with a Dead Boy” EP. Reed then recruited Anohni for her album The Raven for guest vocals and took her on tour in 2003 which meant that Anohni appeared on Lou’s live album Animal Serenade. With the band now attracting wider attention, Anohni and the Johnsons signed to US based label Secretly Canadian. Secretly Canadian then reissued the band's debut to a wider audience in the USA.
The Lake was released the following year through the new label. It’s another 3 song EP including "The Lake" - Lou Reed appeared on Fistful of Love with guest vocals and guitar. The Horror Has Gone seems to be Anohni expressing the end of a depressing phase in her life, a positive lyrical change from her debut style.
In February 2005 Antony and the Johnsons released their second full length, I Am A Bird Now. It has guest appearances from Rufus Wainwright, Devendra Banhart, Lou Reed and Boy George. It went on to receive great critical acclaim in the UK and won Anohni the Technics Mercury Music Prize for 2005.
In 2006 Anohni appeared in the Leonard Cohen tribute concert and subsequent film "I'm Your Man." Her performance of "If It Be Your Will" is perhaps the highlight of the film.
The 5-song Another World EP was released on October 7, 2008. As promised, it shows a mixture of continuation of earlier songs' atmosphere as well as more experimental work. Antony and the Johnsons' third album, "The Crying Light", was released on January 19, 2009. This was followed by "Swanlights" in October, 2010. Both of these latter albums are less melodic and more experimental in nature the Anohni's earlier work and have met with critical acclaim yet little commercial success.
http://www.antonyandthejohnsons.com/
Cut the World
Antony and the Johnsons Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That feminine decree
I’ve always contained
Your desire to hurt me
But when will I turn
And cut the world?
When will I turn and cut the world?
My eyes are coral
Absorbing your dreams
My skin is a surface
To push to extremes
My heart is a record
Of dangerous scenes
But when will I turn
And cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
In "Cut the World," Antony and the Johnsons reflect on the experience of being oppressed and the desire to break free from the constraints of societal norms. The lyrics explore the tension between the singer's desire to be free and their fear of violence and retribution.
The opening lines reference the singer's long-standing obedience to the "feminine decree." This suggests that the singer has been socialized to comply with gender norms that require them to be submissive and accommodating to others. This obedience has also meant containing their own desires and needs to avoid conflict and harm.
The refrain of the song, "When will I turn and cut the world?" reflects the singer's growing desire to assert themselves and break free from these constraints. The image of cutting the world suggests a violent and drastic act, but it is also a metaphor for the singer's desire to create a new reality where they are no longer oppressed or stifled.
The rest of the lyrics vividly describe the feeling of being trapped and the various ways in which the singer's body and emotions have been shaped by this experience. The singer's eyes, skin, and heart all bear the marks of their oppression, but they also contain the potential for transformation and rebellion.
Overall, "Cut the World" is a powerful meditation on the experience of being oppressed and the struggle for liberation. It is a hopeful yet challenging call to action, urging the listener to confront the ways in which they may be complicit in upholding oppressive structures and to imagine new possibilities for themselves and the world.
Line by Line Meaning
For so long I’ve obeyed
I have willingly followed societal expectations
That feminine decree
Set by the norms of femininity
I’ve always contained
I have suppressed
Your desire to hurt me
The aggression and violence that society often permits towards women
But when will I turn
When will I finally rebel
And cut the world?
And challenge the oppressive systems that exist in the world?
My eyes are coral
My eyes are porous and taking in everything around me
Absorbing your dreams
Absorbing the visions and aspirations of those who hold power and privilege
My skin is a surface
My physical being is something that others can use and manipulate
To push to extremes
To push to the limits of pain and suffering
My heart is a record
My heart contains a history
Of dangerous scenes
Of harm and trauma that I have borne
But when will I turn
But when will I finally rebel
And cut the world?
And challenge the oppressive systems that exist in the world?
When will I turn and cut the world?
I am asking this question again and again, yearning for an answer that will bring freedom
When will I turn and cut the world?
When will I finally take action to dismantle the systems that seek to harm me and others?
When will I turn and cut the world?
This question echoes in my soul, a call to arms for change
When will I turn and cut the world?
When will I rise up and challenge the oppressive status quo?
Writer(s): Antony Hegarty
Contributed by Audrey K. Suggest a correction in the comments below.
OrganizaJoan
Antony & The Johnsons
Cut The World
For so long I've obeyed that feminine decree
I've always contained your desire to hurt me
But when will I turn and cut the world?
When will I turn and cut the world?
My eyes are corals, absorbing your dreams
My skin is a surface to push to extremes
My heart is a record of dangerous scenes
But when will I turn and hurt the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
Iki Nama
For so long I've obeyed
That feminine decree
I've always contained
Your desire to hurt me
But when will I turn
And cut the world?
When will I turn and cut the world?
My eyes are coral
Absorbing your dreams
My skin is a surface
To push to extremes
My heart is a record
Of dangerous scenes
But when will I turn
And cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
Hans van Niekerk
CUT THE WORLD
For so long I've obeyed
That feminine decree
I've always contained
Your desire to hurt me
But when will I turn
And cut the world?
When will I turn and cut the world?
My eyes are coral
Absorbing your dreams
My skin is a surface
To push to extremes
My heart is a record
Of dangerous scenes
But when will I turn
And cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
camilo saldaña
For so long Ive obeyed
That feminine decree
Ive always contained
Your desire to hurt me
But when will I turn
And cut the world?
When will I turn and cut the world?
My eyes are coral
Absorbing your dreams
My skin is a surface
To push to extremes
My heart is a record
Of dangerous scenes
But when will I turn
And cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
When will I turn and cut the world?
Irisviel
This song is a feeling. It's so sadly real. There are some moments when you really wish to "turn and cut the world". When you're feeling some deep sadness, its melody can make you cry, without even looking at the video.
Andrea Middelkoop
I encounterd the music of Anthony a few years ago and was mesmerised by the power and the courage of this wonderful person. Not alone a beautiful voice, but also the courage to put him/herself out there. Take or leave it, this is ME. And I love you for that and for your music, it touches my heart everyvtime I listen to it. Thank you and please continue...
Jo Rector
I love how Houten's character isn't proud of what she's done but stands conflicted and empowered by the other women in destroying the "structure" of masculinity. I also love the look she gives to the magnificent Marina Abramovic, it heartbreaking and beautiful.
Emma Gual Bel
Durante mucho tiempo he obedecido ese decreto femenino Siempre he contenía su deseo de hacerme daño Pero cuando voy a girar y cortar el mundo? Mis ojos son de coral, absorbiendo sus sueños Mi piel es una superficie para empujar a los extremos Mi corazón es un registro de las escenas peligrosas Pero cuando voy a girar y cortar el mundo? ¿Cuándo voy a girar y cortar el mundo? (Repetición) ¿Cuándo voy a girar y cortar el mundo? (Repetición)
stefrenz
Every time I watch this, without fail, I get goosebumps. Not many tracks can do that, Anthony and the Johnsons, Danish National Chamber Orchestra, take a bow.
Lylian Santos
É tão lindo que não canso de assistir. In love com esse vídeo.
PalmurcioWorld
The look of Carice, her eyes are so expresive. Such a brilliant actress, I can see a whole world of emotions in her eyes
Titus Paar
Brilliant and unexpected to take the most beautiful song in years and give it a dark twist video. This is brave and new! Not for everyone but Antony and the Johnsons was never for everyone. I love it.
O TristeFinn
Um dos clipes mais lindos que eu já assisti esse ano. Seria um mundo de mulheres ?
Rob Arentsen
We all have our visions. True art makes it possible to catch a glimpse of reality , which has so many faces as there are people to be part of it, through the veils of illusion. To me this music, as a lot of the music they make, is a work of art. Very special to see Marina Abramovic in this video. A lot of people (including me) were deeply touched by "The Artist is Present".