Carol: And there are many other details one might draw attention to, like the ways songs in the films second half mirror the first. Hold On and All Night connect via Jamaican ska (both have reverby guitar on the off-beats and heavy bass on the strong beats). Sorrow and Love Drought foreground glistening synths (reminiscent of DX7s of the 80s) and light, busy percussion pads in the high register. Lemonades songs and sonic materials sometimes transition smoothly into one another. James Blakes Forward fluidly emerges out of Sandcastles. Sorrows bell-like synth slowly thickens to become what Holly has described as a gamelan figure. The rhythmic pattern that momentarily comes to the fore as Beyonc sings better call Becky with the good hair threads through the album. Might Lemonades atypical forms and unpredictable song-lengths showcase Beyoncs fluid phrasing and unusual rhythmic delivery?

Holly: Alright, were moving to our close! Weve said that the sound design in the experimental-avant-garde-interstitial sections work with a variety of types of audiovisual sync, from close to striking ruptures, encouraging a viewer to pay close attention and to consider questions about futurity, presence and memory. The three-dimensional sonic space also complicates the visual space. Lemonades songs come from a range of genresdubstep, hip-hop, country, reggae, indie-rock. These bridges are comprised of three elements: visual tableaux, moving, relatively static or still (reminiscent of Andre Tarkovsky and Ingmar Bergman); poetic, intensely personal spoken-word poetry (by Somali-British poet Warsan Shire); and rich sound-design (breaths, machinic hums, water dripping, all recorded with microscopic focus).

Sound takes us inside and out in many ways. The audiovisual bridges often evoke horror or noir tropes. Internalized sounds are often strange, even nightmarish. During the Denial passage, the noises are strangulated, distant, and not immediately identifiable in the image, although they speak to a similar aesthetic. Sometimes sound does not belong directly to the world depicted, but rather to memory, thought, emotion, or something momentarily alluded to in the songs lyrics. As spoken passages draw to a close, they frequently morph, sonically as well as visually, into the beat and timbre of the next song. The ambient, abstract sounds of the underground carpark that pulse like Lynchs famous room-tone slowly coalesce into an intermittent drum beat; this beat becomes the driving force of the raw, low-fi Dont Hurt Yourself, featuring Jack White. The heightened sounds that refer to nothing onscreenfootsteps, sighs and less-identifiable noisescrescendo upwards as we travel up the Kubrickian

The distorted sounds that stretch beneath the voice-over and that move into James Blakes tantalizingly brief Forwardthe