Professional Documents
Culture Documents
Bad Taste Records is formed; Bjrk, Sigtryggur Baldursson, Einar Melax, or Eldon, Einar rn Benediktsson, and Bragi lafsson start The Sugarcubes Receives the Order of the Falcon, awarded by the President of Iceland Receives the Q Inspiration Award from Robert Wyatt
Named Best International Female at the BRITs for a third time Receives Qwartz honor at the Qwartz Electronic Music Awards
Sugarcubes sign to ex-Flux of Pink Indians Derek Birketts independent label, One Little Indian Wins Best Female at the MTV Music Awards Awarded the Polar Music Prize
Wins BRITs Best International Female for the second time Receives two Golden Globe nominations: Best Actress in a Motion Picture Drama, and Best Original Song for Ive Seen It All MTV O Music Awards presents Bjrk with the Digital Genius Award
Kukl join Chumbawamba and Flux of Pink Indians on a miners strike benefit tour in the UK Receives six MTV Music Award nominations; Its Oh So Quiet wins Best Choreography in a Video Surrounded: all albums re-mastered for Dolby Digital and surround sound
Releases Surrounded: Wins Webby Artist of the Year
Wanderlust video, directed by Encyclopedia Pictura, receives three awards at the UK Music Video Awards:
Bachelorette receives award for Best Art Direction at the MTV Video Music Awards Best Art Direction in a Video, Best Indie/Alternative Video, and Video of the Year
Wins Best International Female and Best International Newcomer at the BRIT Awards and performs at the ceremony with PJ Harvey
All is Full of Love video, directed by Chris Cunningham, wins Breakthrough Video and Best Special Effects in a Video at the VMAs The Academy of AIM (Association of Independent Music) honors Bjrk with Outstanding Contribution to Music Award
Receives Best Actress award at the Cannes Film Festival; the film also wins the Palme dOr Releases Voltaic,, a double CD and DVD encompassing the best of the tours live performances
Releases Receives the National Order of Merit awarded by the President of the French Republic and a recorded live session at Olympic Studios, London
Bjrk moves to London Contributes exclusive instrumental soundtrack to Nick Knight and Alexander McQueens installation Angel for La Beaut en Avignon exhibition
Ive Seen It All is nominated for Best Original Song at the Oscars
First single, Human Behaviour, is accompanied by a Michel Gondry video
Releases
Releases Includes a studio album, apps, new website, educational workshops for children to learn
First single is Hidden Place, with a video directed by Inez van Lamsweerde & Vinoodh Matadin and M/M (Paris) about music, nature, and science, and live shows (three-year world tour of month-long residencies in eight cities)
Joins Kukl (meaning sorcery) with friends Einar rn Benediktsson, Sigtryggur Baldursson, Einar Melax, Birgir Mogensen, and Gulaugur ttarsson Releases Releases Selmasongs
Selmasongs, soundtrack to the film Dancer in the Dark with Bjrk using apps to play custom-built musical instruments
Vespertine tour launches at the Grand Rex in Paris with the Novecento Orchestra conducted by Simon Lee, the group Matmos, Zeena Parkins, and an Inuit womens choir
Releases remix album, Telegram Bjrk and John Taveners collaboration A Prayer of the Heart premieres as an accompaniment to Nan Goldins Heartbeat photo exhibition at the Pompidou Centre, Paris
First single, Army of Me, is accompanied by a Michel Gondry video
Bjrk attends Oscars in Swan dress by Marjan Pejoski, and later performs
Biophilia receives a Grammy for Best Recording Package sleeve, designed by Bjrk and M/M (Paris)
Releases Releases
preceded by a mini-tour of European clubs produced by Bjrk, Mark Bell, Timbaland, and Danja Bjrk, Peter Strickland, and Nick Fenton
First single is Jga, and Michel Gondry directs the video Earth Intruders is the first single, with a video directed by Michel Ocelot present Biophilia Live concert film at Tribeca Film Festival
Releases Drawing Restraint soundtrack to the Drawing Restraint 9 film directed by Matthew Barney
Interviews composer Arvo Prt for the BBC program Modern Minimalists 9,, directed by Matthew Barney
Release of Drawing Restraint 9 Releases Comet Song, recorded for the soundtrack of the animated film Moomins and the Comet Chase
Tappi Tkarrass release their first 5-song EP Sings Gloomy Sunday at Alexander McQueens memorial in London;
later releases Trance as the backing track to a short film made by Nick Knight, titled To Lee, with Love, as a tribute to McQueen
Releases Performs a duet, Fltta, with Antony and the Johnsons on the release Swanlights
Sugarcubes release their first album, Lifes Too Good,, to critical acclaim in UK and US an a cappella album featuring only voices Bjrk vocals appear on Death Grips release The Powers That B
Releases Greatest Hits and Family Tree
Tree,, with sleeve artwork by artist Gabrela Fririksdttir Releases the Biophilia Remix Series 17
Aged twelve, releases a self-titled album, Bjrk Kukl release The Eye on British anarchist record label, Crass Sugarcubes release second album, Here Today, Tomorrow Next Week! Launches Greatest Hits tour at London Hammersmith Apollo Announces new commission and accompanying retrospective
Releases Live Box set, featuring four CDs, one from each album, and a DVD of live performances of the past ten years at the Museum of Modern Art, New York, curated by Klaus Biesenbach
Joins punk band Tappi Tkarrass, whose name translates as Cork the Bitchs Ass Sugarcubes tour the US for the first time and appear on Saturday Night Live Releases Bastards,, a compilation of remixes from Biophilia
Charity compilation of twenty remixes of Army of Me released in aid of UNICEF Biophilia Live presented as the Sonic Gala at the 58th BFI London Film Festival
Bjrk records jazz album Gling-Gl with Trio Gumundar Inglfssonar in one day; it goes platinum in Iceland Tetralogia soundtrack composed in collaboration with Gabrela Fririksdttir for the latters work at the Venice Biennale Nordic Council funds Biophilia Educational Program initiative
Performs at Live8 Tokyo to bring the curriculum to Nordic countries schools.
Records two tracks with 808 State, which are released on the groups Ex:El album First single is Crystalline and has a Michel Gondry video
Performs live at the Royal Opera House in London, the first ever contemporary pop artist to do so Biophilia app acquired by Museum of Modern Art, New York,
the first app in the museums collection
Accompanied by the Brodsky Quartet in a filmed a cappella performance at the Union Chapel, London
Performs with Dirty Projectors at the Housing Work Bookstore, New York, to raise money for homeless New Yorkers with HIV/AIDS
Cast alongside Catherine Deneuve in Dancer in the Dark Dark,, directed by Lars von Trier Sugarcubes re-form for a one-off concert in their hometown of Reykjavk Joins Darren Aronofsky and Patti Smith
for Stopp Lets Protect the Park charity concert in Iceland
Bjrk writes, illustrates, and publishes a short fairytale titled Um rnat Performs Schenbergs Pierrot Lunaire with conductor Kent Nagano, the Opera Orchestra of Lyon, and musical director Murray Hipkin Nttra featuring vocals from Thom Yorke is released as a stand-alone single with all proceeds going towards the Nttra Foundation
Meets and interviews Karlheinz Stockhausen for Dazed & Confused magazine
Performs alongside Sigur Rs at Nttra concert to raise awareness of the destruction of Icelands landscape through increased aluminum smelting
Records Live at Shepherds Bush Empire
Empire;; tickets are distributed for free to fan club Performs at the inaugural Fashion Rocks, pairing with Alexander McQueen
Sugarcubes Stick Around for Joy is released; the band play their final show before splitting on November 17 at the Limelight, New York Mount Wittenberg Orca is releaseda collaboration between the Dirty Projectors and Bjrk
Performs Oceania at the Opening Ceremony of the Olympics in Greece with all digital sales proceeds donated to the National Geographic Society Oceans Initiatives
Release of When Bjrk Met Attenborough documentary
Enrols in a local childrens music school, where she studies musicology, flute, and recorder Speaks with Jefferson Hack at WIRED conference, London
Performs songs from Debut on MTV Unplugged Bjrk lends her voice to Anna in the animated film Anna and the Moods
Bjrk lends her vocals to Surrender, a track on lf Arnalds album Innundir Skinni
Bjrk gives birth to her first child, son Sindri Eldon Bjrk gives birth to her second child, daughter Isadora Bjarkardttir Barney
2
Nicola Dibben, Bjrk (Indiana University Press), 2009, p. 98.
at MoMA. flowing lava formed a rocky island that was soon colonized by
seeds that were washed ashore. These seeds brought the dead
island into the cycles of life. At the end of filming Black Lake,
the Icelandic volcano Brarbunga erupted under a glacier,
again bringing together scorching liquid with centuries-old
glacier ice and generating new rocks out of the cooling magma.
a few years ago, for a feature on a music blog, I asked Bjrk The possibility of such a consensus now seems remote.
to make a selection of her favorite records. Her list included The musical landscape teems with genres: classical, jazz,
Mahlers Tenth Symphony; Alban Bergs Lulu; Steve Reichs folk, blues, gospel, country, Latin, R&B, funk, soul, hip-hop,
Tehillim; a collection of Thai pop, entitled Siamese Soul, Volume 2; rock, metal, punk, pop, and dozens of national and regional
Alim Qasimovs Azerbaijan: The Art of the Mugham; Joni Mitchells varieties. Recording technology has surely fueled this explosion
Don Juans Reckless Daughter; Kate Bushs The Dreaming; Nicos of typologies: once a piece of music becomes a circulating
Desertshore; Public Enemys It Takes a Nation of Millions to Hold commodity, it requires classification, so that one can know what
Us Back; Aphex Twins Drukqs; the Panasonic EP; Black Dog section of the record store to put it in, or, in latter-day terms,
Productions Bytes; and James Blakes debut album, James Blake. 1 what tag to place in its metadata. Furthermore, each genre
has its own subgenres and ideological schisms. Popular music
Whats striking about the list is not just the breadth is regularly riven by debates between acolytes of classic
of Bjrks tastethis is no surprise, given her chronic curiosity guitar rock and devotees of latter-day pop genres that make
about every corner of the musical worldbut also the animated sophisticated use of digital manipulation. Contemporary
map of genres that materializes in the background. It is as classical music exhibits a long-running conflict between tonally
though, in a reversal of tectonic drift, isolated land-masses oriented composers and those who still pursue Schoenbergs
of taste were reforming as a supercontinent. A grandiose howl high-modernist emancipation of the dissonance. Music is very
of late Romantic agony; a juggernaut of twelve-tone modernism; far from being a universal language, as Arthur Schopenhauer
a cool minimalist dance through Hebrew psalms; off-kilter pop once defined it; to the contrary, no art stirs more heated debate.
from South Asia; a virtuoso survey of Azerbaijani mugham;
three defiantly idiosyncratic albums by female singer-songwriters; Over the past century, we have seen valiant attempts
three pathbreaking electronic records; a raging tour-de-force to restore a holistic understanding of genre. In 1923, at Aeolian
of political hip-hop; a collection of dubstep ballads: Bjrks list Hall in New York, the singer Eva Gauthier organized a concert
circumnavigates the globe, and, at the same time, it overruns entitled Ancient and Modern Music for the Voice, with a
the boundaries separating art from pop, mainstream from repertory ranging from Purcells Hark! Hark! The Echoing
underground, primeval past from high-tech present. Air to the latest songs of George Gershwin. A decade later,
the High-Low Concerts, at the St. Regis Hotel, put Duke
The partition of music into distinct genres, each with Ellington and Count Basie together with Aaron Copland and
its own history, philosophy, and body of technique, is a relatively Charles Ives. After the Second World War, Gunther Schuller,
recent development. Before a global marketplace emerged, under the banner of the Third Stream, sought common ground
with the advent of recording technology in the late nineteenth between bebop jazz and atonal composition. In the 1960s,
century, there was little talk of the classical, the popular, and Miles Davis, in the name of fusion, blended jazz and rock,
subdivisions thereof, although the language of music was seen while psychedelic rock bands studied recordings by Cage and
to vary widely from nation to nation and from city to city. Stockhausen: the latters face was famously featured on the cover
Shakespeare employed the word music with blissful vagueness: of Sgt. Pepper. More recently, there have been intense exchanges
If music be the food of love, play on. He apparently felt no between younger post-minimalist composers and figures from
need to specify what kind of music might feed a lusty ear. When indie rock and indie pop.
Mozart, in The Magic Flute, enacted what we might now describe
as a radical fusion of genres, combining high operatic tradition
with the popular art of the Singspiel, few seemed to find anything
untoward in the gesture; Antonio Salieri simply commented that
it was an entertainment worthy of being presented to the greatest
monarch. Rousseau, in his Dictionary of Music, noted that tastes
varied widelyOne is most touched by pathetic pieces, another
other prefers gay Tunesbut nonetheless spoke of a general
Taste upon which all well-constituted people are agreed. 2
1
My Favorite Records: Bjrk,
http://www.therestisnoise.com/2011/11/
my-favorite-records-bj%C3%B6rk.html.
2
Jean-Jacques Rousseau, Dictionary of Music,
in Essay on the Origin of Languages and
3
David W. Bernstein and Christopher Hatch, eds.,
Writings Through John Cages Music, Poetry, and Art
(University of Chicago Press), 2001, p. 1.
4
Julie Coryell and Laura Friedman, eds.,
in the intersecting tributaries of Bjrks work, there is Classical music loomed large in her early years. From
a glimpse of the delta that Cage described at the end of his life the age of five, she attended the Barnamsikskli in Reykjavk
whether or not Cage himself would have been able to wrap (a childrens music school now called the Tnmenntaskli),
his mind around her music. He died in September, 1993; three where she studied theory and history, sang in school choirs,
months before, Bjrk released her first solo album, Debut, in and played the flute. (The box set collection Family Tree contains
which she began in earnest her fierce dance across the continents a fragment of Bjrks flute playing: a sinuous little piece
of genre. You hear first a bouncing riff sampled from an Antnio from 1980, called Glora.) The focus on a canonical repertory
Carlos JobimQuincy Jones soundtrack, its syncopated beat of Bach, Mozart, and Beethoven frustrated her. I remember
consigned to a venerable orchestral instrument, the timpani. being almost the fighter in the school, the odd kid out,
Over this pattern, Bjrk sings a gloriously odd opening line: she once said. 5 But a teacher named Snorri Sigfs Birgisson
If you ever get close to a human and human behavior, be ready excited her imagination by introducing her to major twentieth-
to get confused. The voice exists somewhere on the continuum century composers: Schoenberg, Messiaen, Stockhausen,
from the folkish to the operatic; less by calculation by default, Cage. Early on, she made her own attempts at avant-garde
it lands in the middle ground of pop. composition, creating pieces from sonic found objects such as
a tape of her grandfather snoring.
Bjrks Icelandic origins almost certainly contributed
to her quizzical, questing approach to musical identity. Bjrk remains strongly invested in the modern end of
She belonged to a geographically isolated society in which the classical repertory, regularly attending new-music concerts
centuries-old folk traditions remained strong, and in which and performances of twentieth-century composers whom
young people passed the time singing in choral groups, she admires. In recent years, during her periods in New York,
as generations before them had done. Somehow, we missed she has seen Metropolitan Opera performances of Bergs two
out on the industrial revolution and modernism and post- operatic masterpieces, Wozzeck and Lulu; she has also heard,
modernism, Bjrk recently told me. We are jumping straight among many others, Messiaens monumental ensemble piece
from colonialismwe got our independence only in 1944into Des Canyons aux toiles (From the Canyons to the Stars) and, at
the twenty-first century. We could enjoy a still almost untouched the Park Avenue Armory, Stockhausens final electronic
natural landscape, and draw upon it as we head-butted our way composition, Cosmic Pulses. She has been more reserved in
into a green, techno, Internet age. All the latest products her response to American minimalismMinimalism is my
of Western culture were readily available to Bjrks generation, abyss, she told me, in 2004but she cherishes Steve Reichs
and to those who came after. Yet these shiny commodities Tehillim, as her Favorite Records list attests, and also admires
could be assembled in eccentric formations. The up-to-date the work of Arvo Prt, Vladimir Martynov, and the late John
mingled with the obsolescent and the ancient. Despite Bjrks Tavener, all of whom lie on the outskirts of the minimalist
enthusiasm for the latest developments in the digital arena movement, often joining repetitive processes to pure, spare
and her painstaking attention to the minutiae of studio sonorities suggestive of old church traditions.
production, there is much in her music that feels rough-hewn,
homemade, pre-technological.
there were many other influences on the young Bjrk. Monk provided a clear precedent for Bjrk, even if the two
Indeed, the sway of classical music can be felt more in artists seem to inhabit fundamentally different worlds. Having
the spiritual background of her music than on the surface. admired each other from a distance and exchanged letters over
At the age of eleven, she recorded an album of pop covers, the years, Bjrk and Monk finally met in 2005, in a conversation
including songs by the Beatles and Stevie Wonder. A few years mediated by the pianist Sarah Cahill. 7 Bjrk described her
later, she dived into punk and hardcore, becoming the lead early encounter, at around age sixteen, with Monks 1981 album
singer of an abrasive anarcho-punk outfit called Kukl. In Dolmen Music, which gives perhaps the purest demonstration
the late 1980s, she acquired international fame as the lead of her invented-folk style. Bjrk recalled that up until that point
singer of The Sugarcubes, a free-spirited, mildly surrealist New she hadnt been greatly interested in vocal music, preferring the
Wave group. And, in 1990, she recorded a remarkable album buzzing complexity of instruments and electronics. But Monk
of jazz standards, called Gling-Glan inviting path not taken. showed what could be achieved when the voice alone, divorced
or distanced from language, is treated as the most malleable
The art of singing often consists in hiding the physicality of instruments. Speaking together, the two artists found other
of the voicethe noise of the breath, the click of the tongue, common ground: a family tradition of collective singing; an early
the croak of the throat, the innumerable nuances that fall love for Cage; a tendency to compose while walking outdoors;
between the twelve chromatic tones. Bjrk, by contrast, has never an abiding interest in how the voice is linked to the body.
tried to disguise that visceral aspect: her voice has a raw, abrupt,
outdoor character, even at its airiest and most unearthly. While In traditional realms of classical music, the voice is prized
you can hear intimations of that sound in her earliest recordings, as a medium through which a musical or dramatic idea is
she labored for many years to refine the vocal presence that so expressed. In pop, a similar expectation applies, even if
often elicits such adjectives as organic, natural, authentic. the medium is entirely different: the voice conveys a personality,
The development of the voice went hand in hand with her a style, an energy, a brand. In the cases of Monk and Bjrk,
emergence as a songwriter and as a producer of complex the voice itself becomes the center of gravity of the composition,
electronic and instrumental textures. the fount of the creative idea. To sing is to compose. We may
be aware of the biography behind the voice, but we care most
While artists as various as Maria Callas and Joni Mitchell of all for the grain of the singing itselfof the fictive landscape
shaped her sense of the capabilities of the voice, perhaps that forms around the voice as it moves. Wallace Stevens
the most enduring influence on Bjrks career, from Debut seemed to anticipate the phenomenon in The Idea of Order
to Biophilia and beyond, has come from the American composer, at Key West: She was the single artificer of the world /
singer, dancer, and theatre artist Meredith Monk, who shares In which she sang.
with Bjrk a fundamental unclassifiability, a tendency to invade
the interstices of institutionalized culture. Monk belongs
to the great vanguard of artists and musicians who thrived
in the unheated lofts and makeshift galleries of downtown
Manhattan in the 1960s and 70s. Where so many of her
contemporaries, including Reich and Philip Glass, adopted
a cool, impassive mien, Monk brought a touch of ritual mysticism
to the New York avant-garde, cultivating an otherworldly yet
piercingly immediate vocal style that suggested some lost,
nameless folk culture. She aimed for a voice as flexible as
the spine, and connected it to a self-invented dance vocabulary
and a mobile theatre of gesture and image. The resulting work
caused a certain panic in critical circles: the New York Times once
sent a trio of music, dance, and theatre writers to assess her.
7
Radical Connections: Meredith Monk and Bjrk,
bjrk resists being called a composer, even if she has drawn In 2004, I had the opportunity to watch the making
extensively on the notational classical tradition. The cult of Bjrks fifth solo record, Medlla, and could see first hand
of the solitary genius is alien to her. Instead, she sees her how her music gestates in a matrix of creative exchanges. 8
work as an essentially collaborative enterprise, one that calls The recording process took Bjrk from the Canary Islands
for an entire community of musicians, studio technicians, to Iceland and on to Salvador, Brazil, and London, where
instrument-makers, producers, programmers, videographers, the final mix was done. Partly in homage to Meredith Monk,
fashion designers, and other creative individuals. She is not Bjrk set out to demonstrate the myriad textures, from
the kind of pop star who makes a game of donning masks the ethereal to the percussive, that can emanate from the human
and disguises; her vocal identity has changed remarkably little voice: solitary folkish song, choral swells, breathy feminine
over two decades as a solo artist. But almost everything else whispers, raw heavy-metal shouts, beatboxing, and various
has changed: the instrumentation, the arrangements, the other techniques. The avant-garde rock vocalist Mike Patton,
production techniques. Her albums tend to react against one the Inuit throat-singer Tagaq, and the human beatboxes
another, with extroverted moods giving way to intimacies, Dokaka and Rahzel joined the ever-expanding, ever-changing
dense textures followed by transparent ones. Bjrk community; unfortunately, plans to add the R&B superstar
Beyonc to the mix ran up against logistical difficulties. Given
To a great extent, Bjrks career can be narrated in terms the meandering itinerary of the creative process, it was striking
of her collaborations. In the early and mid-1990s, she was how cohesive the album turned out to be: working in conjunction
living in London, keeping close tabs on the citys club scene and with the recording engineer Valgeir Sigursson and the mixing
maintaining a hectic nocturnal schedule. Debut and Post were, engineer Spike Stent, Bjrk shaped disparate material into
in a way, portraits of a multiculturally swinging city, with a potent whole.
purring trip-hop beats layered beneath the sinuous strings
of Talvin Singh and more opulent parts that Bjrk co-arranged Three years later, with Volta, Bjrk again reversed course
with Eumir Deodato. Synthesized sounds met up with the and reclaimed the extroverted mood of her early albums,
tootling and plucking of a community band or orchestra: although she kept hold of the more adventurous resources that
flute, harp, accordion, harmonium. The tone of these first she had been deploying since Homogenic. This party tended
albums is caught by the title of a song toward the end of Debut: toward the darkly chaotic. The hip-hop producer Timbaland
Violently Happy. added tribalistic beats that happened to resemble Afro-Brazilian
drumming tracks that Bjrk had recorded for Medlla and
Homogenic, from 1997, marked the end of Bjrks London then set aside, sensing that they didnt fit that albums tone.
phase; she moved back to Reykjavk the following year. An all-female, ten-piece brass ensemble provided glowering brass
The producer Mark Bell became a crucial member of Bjrks sonorities. The indie soul singer Antony Hegarty sang duets
team, injecting cooler, more brittle timbres. The Icelandic with Bjrk on several tracks, establishing a contrasting mood
landscape can be sensed in the volcanic spasms of songs like of sensuous otherwordliness. If the record lacked the thematic
Pluto, or in the pummeling rhythms of Hunter, which unity of Vespertine and Medlla, it again demonstrated Bjrks
suggest a terrain being trampled by hooves. At the same time, knack for disrupting the pop consensus.
the record suggests a turning inward. In the song Jga, Bjrk
sings of emotional landscapes, of a state of emergency. Biophilia, from 2011, is perhaps Bjrks most ambitious
This exploration of a sometimes inviting, sometimes forbidding project to date. Part album, part stage spectacle, part iPad app
inner geography goes even deeper in Vespertine, which appeared emporium, part new-instrument laboratory, and part grade-
in 2001. Here, Bjrks collaborators, apart from Bell, included school curriculum, it is almost Stockhausenlike in its joyous
the producer-songwriter Guy Sigsworth, the electronic musician disregard for the constraints of genre. As often before, Bjrk set
Matthew Herbert, the avant-garde harpist Zeena Parkins, and about mapping the intersection of art, nature, and technology,
Drew Daniel and M. C. Schmidt, of the electronic duo Matmos. presenting analogies between scientific and musical elements.
Yet the glistening, twitchily sensual musical fabric of the album, Crystalline compares crystal structures to the efflorescence
which includes parts for glockenspiel, celesta, and music boxes, of songs from small motifs; Solstice likens swinging pendulums
was largely Bjrks creation, with most of the beats created to overlapping contrapuntal lines; and Virus, whose folklike
on her laptop and musical parts written in the Sibelius melody seems to come from the depths of the centuries,
composition program. has an unstable, ever-shifting accompaniment that suggests
cells subdividing and multiplying. The battery of bespoke
instruments includes the gameleste, a MIDI-controlled device
that incorporates gamelan-like bronze bars in a celeste housing;
and the Sharpsichord, a forty-six-string automatic harp controlled
by a pin cylinder.
the great musical event of the past hundred years has The singer who composes, the composer who sings;
been the rise of pop and the concomitant marginalization the pop figure who embraces classical music, the classical
of a formerly dominant classical tradition. Walter Benjamin, student who has branched out into pop; the solitary creator
in his famous 1936 essay The Work of Art in the Age of Its who thrives on collaboration, the Nordic woman who meanders
Mechanical Reproducibility, observed that technologies through global culturesBjrk presents us with a complex
of reproduction had brought about the decay of the aura mass of dualities and contradictions. What is most impressive
attaching to bourgeois works of art; modern forms such as about the overall trajectory of her work is that each swerve
photography and film had eroded the uniqueness of the sacred or seeming detour contributes to a steadily ascending arc.
artistic object. The same dynamic could be seen in music, Despite constant changes of style and rotations of personnel,
as Theodor W. Adorno noted. Yet, as Adorno pointed out her music-making displays long-term continuities, not only in
in his correspondence with Benjamin, it is not the case that the fabric of her voice but in the melodic and harmonic contour
the phenomenon of aura has disappeared altogether; rather, of the songs. The integration of a distinct composerly sensibility
it has migrated from the older tradition to the newer one, into an open-ended, communally evolving output is perhaps
so that pop is now sacralized in turn. 10 It is a nave fiction Bjrks signal achievement. It overrides a false opposition that
of contemporary American culture to believe that bourgeois has confined music in predictable social functions.
art is an affair of the lites while pop culture is a celebration
of democratic virtues. There is, in fact, a straight line from Make your own flag! Raise your flag! Bjrk cries
the bourgeois cult of the solitary genius to the mass cult of on Declare Independence. We dont usually think of Bjrk
the stadium celebrity. In both venues, a musical object radiates as a political artist, and yet her music can acquire an insurgent
ritual power within a radically unequal capitalist society. edge, as became clear when, singing those lines in Shanghai
in 2008, she added a shout of Free Tibet! The idea of raising
It would be too much to claim that Bjrk breaks that cycle ones own flag, of drawing ones own borders, runs all the way
of sacralization and domination. No artist who participates through Bjrks career. It transcends the marketing clich
in the give-and-take of the music business can escape it. But of Think different and espouses a philosophy of aesthetic
something in her work rejects a cultic function. As a performer, anarchy, whereby the redrawn map of the musical world becomes
she does not strive to dominate; even when her voice acquires the image of a future society. In this way, too, Bjrk is a faithful
a ferocious edge, she remains a figure within a landscape, a voice follower of Cage, whose vision of utopia consisted, simply and
within a collective. This is not to say that she fails to attract majestically, of a multiplicity of individuals who have the habit
fanatical admirers or elicit adulation; rather, that she undermines of respecting one another. 11 ||
the machinery of celebrity by playing against type. The fact that
she is routinely described as idiosyncratic, eccentric, weird,
or even crazyadjectives seldom employed by those who know
her welltestifies to her oblique strategy in the public sphere.
In this respect, her in-between status in genre terms, her liminal
position between classical, popular, and folk worlds, has
subversive power, and not just in aesthetic terms. By refusing
to be classified, Bjrk also resists being commodified.
10
Adorno wrote to Benjamin on March 18, 1936:
if anything can be said to possess an auratic character now,
it is precisely the film which does so,
and to an extreme and highly suspect degree.
Theodor W. Adorno and Walter Benjamin, 11
The Complete Correspondence, 19281940, ed. Henri Lonitz, Joan Retallack, ed., Musicage: Cage Muses on Words, Art, Music
trans. Nicholas Walker (Harvard University Press), 1999, p. 130. (Wesleyan University Press), 1996, p. 293.
stories of bjrks creative process abound in interviews and In terms of music-making, some musical collaborators such
critical reception of her music: from accounts of composing by as engineers and producers are akin to performers brought in to
singing outdoors, through working at digital audio workstations, play music that she has written. One example of this relationship,
to jamming with other musicians. Yet, the discourse and ideology according to Bjrk, was her work with Markus Dravs, credited
of creativitywho and what we consider creative and why with production of Homogenic, whom she asked to make big,
remains relatively opaque. In this essay I briefly outline some distorted rock beats. She gave him reference samples and asked
of Bjrks working process, before showing how her work him to create beats that she listened to and corrected, and by
itself has something to say about the nature of creativity which the end of the Post tour they had created a library of beats that
challenges deeply embedded notions of creation. she could use in Homogenic. Another example is Matmos, who
she brought in to provide a textural and percussive layer of beats
Bjrks solo work can be thought of in terms of projects, to tracks she had already created. 2
which are realized as albums, associated singles and remixes,
promotional images, music videos, documentaries, performances, Significantly, Bjrks account of these working relationships
and in the case of Biophilia (2011), a pop-up music school and used procreational metaphors, such as her description of studio
an app for tablet computer. Music is at the core of these projects. engineers she worked with as the midwives to her creative
For example, in the case of Biophilia, which I worked on projects. 3 Such a description runs counter to the idea of the
as musicological consultant, 1 Bjrk spent at least two years studio as the preserve of the male engineer and producer, and
researching and composing with assistance from a recording of the patriarchal model of creation and creativity as divine
engineer, personal assistant, and management. By the time inspiration which derives from sacred or phallocentric models
I met Bjrk in September 2010 she had already created working of the father/god. 4 It is in this context of patriarchal ideologies
versions of the tracks that would form the album, at least one of creativity, and difference politics, that interpretation of Bjrks
of which was awaiting lyrics (the track Melody, which was work from a feminist perspective is particularly interesting.
later titled Cosmogony). At this stage she had identified most I argue that her work challenges the stereotype of the patriarchal
collaborators, and was communicating her idea for each aspect God-like creator, and replaces it with a matriarchal alternative
of the project to the relevant people, working with the individuals premised on procreation. The most obvious place to look for
concerned to achieve it. Hence, design, art work, costume, this matriarchal creator is in the visual and lyrical dimension
videos, and apps emerged during that process and were executed of her work, but, as I will show, they are just as apparent in
to the music, with some changes to the music in response to the sound of her music.
those interventions and the needs of the different types of
artefacts. The reason this sequence is important is that it points
to a distinctive feature of Bjrks workthe way in which she uses
all media at her disposal to communicate consistently a central
idea particular to each project, which is first manifested musically.
2
Matmos, When Matmos met Bjrk,
Red Bull Music Academy Magazine,
http://www.redbullmusicacademy.com/magazine/
when-matmos-met-bjork, June 26, 2013.
3
Homogenic (1997) CD liner notes;
1 and personal communication, February, 2013.
In this case, musicological consultant
is a grand title for a variety of tasks, 4
bjrks performances of femininity are notable for avoiding bjrks work makes an unusual alliance between a womans
the sexualized objectification of womens bodies that permeates sexual identity and motherhood. In a culture where motherhood
mainstream popular culture. Her costumes are often thematically is often deemed de-sexualized, Bjrks focus on sensual
connected to the particular project shes engaged in and flout experience in Medlla is striking. Bjrk attributed this thematic
conventions of acceptability, catwalk fashion trends, or body- aspect of the album project to her experience of pregnancy,
conscious dressing. 5 Citing Bjrk as a feminist icon one birth, and mothering, describing the album as blood, bones
blogger wrote: her clothes are never about being pretty and meat. 7 In this context, the song The Pleasure is All
or sexy, which I love. Theyre clothes as art and as something Mine can be understood as a celebration of the sensual and
to play with and explore. 6 Her movements in performance emotional experience of mothering, and Mouths Cradle
similarly avoid clichd sexualization: the choreography eschews as a rumination on breastfeeding. The voice is one place where
coy looks, or simulated sex typical of female pop icons and gender is performed, 8 so places where the voice does not
instead is characterized by child-like cavorting, by movements comply with the codification of sexual categories and roles
that express and visualize sonic structures, or reflect almost disrupt identity categories. 9 The panting and groaning performed
absent-minded absorption in the act of singing. Nonetheless, by Bjrk and Canadian throat-singer Tanya Tagaq break
some of her work has been erotically explicit: the music video conventions of vocal femininity because they can be heard as
Pagan Poetry (dir. Nick Knight, 2001) shows Bjrk semi-naked eliding both a maternal and erotic identity.
with beads sewn into her skin. In sum, Bjrks visual technique
avoids sexual objectification by disavowing, to some extent, In interviews contemporary with Medlla, Bjrk
the conventional representational style of heteronormative described the project as an attempt to return to a time prior
sexual attractiveness, fetishized body parts, and patriarchal to civilization, and to hark back to a mythologized past in the
modes of looking. Instead, the visual becomes an outlet for the wake of 9/11. In musical terms this is manifest in the primitivist
expression of a different kind of female experience and identity. and body-centric vocal album. The very personal, family-centered
focus, and emphasis on the voice, can be understood as a form
of embodied protest which voices the physical and emotional
experience of motherhood in opposition to the (male) oriented
contemporary political scene. 10 This celebration of sensual
experiences of breastfeeding and mothering is an articulation
of peace politics which is arguably congruent with tenets
of third-wave feminism and its valorization of the feminine.
7
The Inner Part of an Animal or Plant Structure,
dir. Ragnheiur Gestsdttir, 2004.
8
5 Judith Butler, Gender Trouble (Routledge), 1999.
Edwin F. Faulhaber III,
Communicator Between Worlds: 9
Bjrk Reaches Beyond the Binaries. Freya Jarman-Ivens,
Diss. Bowling Green State University, 2008. Queer Voices: Technologies, Vocalities,
and the Musical Flaw (Palgrave Macmillan), 2011.
6
Franca, Fashionable Feminist Icon: 10
Bjrk, March 2, 2011. Oranges and Apples: Bjrk has described some of the songs as being
11
Inside Bjrk, dir. Christopher Walker, 2003.
bjrks treatment of the technological has to be seen A second feature of Bjrks sound that presents
in its wider cultural context. The construct Technology this integration of the natural and technological is the mimetic
is associated with a worldview of scientific progress, objectivity character of her beats. For example, the timbre of her beats
and rationality, and of domination over the natural world. deliberately mimics aspects of the natural world such as seismic
In the West this is a legacy of nineteenth- and early twentieth- movement of the earth (Homogenic), and winter landscapes
century reaction to industrialization and mechanization and (Vespertine), associations that are primed for the listener by
associated fears of routinized human labor that would contextual information such as Bjrks statements on her work
then be replaced by the work of machines. In popular music and accompanying videos. In Nature is Ancient, for example,
the technological came to be associated with electronic the industrial-sounding beats coincide with shots of a foetus-like
instruments and sound sources, epitomized by the synthesized creature, and the filtered frequency spectrum evokes a sound
timbres and repeating beat patterns of electronic dance music heard through some other substance or device, and can be
this, despite the fact that a guitar is just as much a technology interpreted as a uterine soundscape. In some cases, beats and
as the Digital Audio Workstation. 13 This association between other materials are directly sampled from everyday sound
the sounds of electronic dance music and the concept of the (cracking ice and footsteps in snow on Vespertine), and in Medlla
technological is manifest in Bjrks artistic output, statements beats are made from the ultimate sonic signifier of human
in interviews, and critical reception. This is significant because subjectivitythe voice.
it means that if we look closely at her use of beats we can better
understand the idea of technology in her music. A third example of the way Bjrk inscribed the beats
of electronic music with alternative meanings was through
One innovation of Bjrks compositional style was the use of microbeats on Vespertine. Microbeats are high-pitched,
the unusual combination of vocal, instrumental, and electronic short-duration, percussive rhythms that derived from avant-garde
sources, which integrated sounds culturally coded as natural and experimental glitch music of the 1990s which used the
with other sound sources and compositional practices clicks of a CD skipping as musical material. One way microbeats
conceived as technological. 14 One place this can be heard is subvert traditional beat-based composition is by miniaturizing
in the relationship between her voice and the sonic background. the sonic experience. The term micro refers to the idea of
The sound of Bjrks first solo albums was innovative in the working with a smallest particle or grain of sound, and
context of 1990s electronic dance music for its combination Bjrk used this within a broader aesthetic of miniaturization
of vocals and beat-based electronic dance music. Her voice particular to Vespertine. The design intention was to create
works with the technological, represented by the beats, but the impression of something small that had been magnified. 16
is not subservient to it, as can be heard in the expressive timing Miniaturization of objects opens up the everyday world to
of her relatively unprocessed vocals around the quantized beat the imagination and is a sonic manifestation of Vespertines
(a relationship described by British musician and co-writer utopian delight in the domestic. 17 This was achieved by using
Guy Sigsworth as the unforgiving pulse of the machine and high-frequency sounds of short duration and in rapid
the human resisting it). 15 rhythmic patterns (sounds emitted by small objects/events
in the real-world), and positioning them around the virtual
space of the recording so that they become more akin to
something organic and mobile (insects, perhaps) rather than
the fixed-location, loud, low-frequency beats characteristic
of some electronic dance music. By virtue of this treatment,
technology was made human-scale, and brought into the
private, domestic realm.
16
This is also evident in the title sequence
and credits to Bjrks documentary Minuscule (2004),
13 in which the cameras gaze travels through a miniature world.
Simon Frith, Art versus technology:
The strange case of popular music, 17
Media, Culture & Society 8.3 (1986), pp. 26379. Bjrk explained her use of microsound
at this time as a compositional strategy
14 that emerged from working with a laptop computer,
Nicola Dibben, Bjrk (Equinox), 2009. and a state of domesticity and retreat in response
to the concurrent filming of the Lars von Trier-directed film
18
The absence of physical artefacts
with digital technology is apparent
rather than real because digital artefacts such as MP3s
still need physical playback technologies.
19
Ragnhild Brvig-Hanssen,
Music in Bits and Bits of Music: Signatures
of Digital Mediation in Popular Music Recordings.
Diss. PhD thesis, University of Oslo, 2013.
20
Bjrk interviewed in CDNow, August, 2001,
i have suggested that Bjrks artistic practices present a version Whereas All is Full of Love presents a cyborgian
of technology that does not fit the cultural stereotypes. As embodiment of a feminized technologythe human-machine
Charity Marsh and Melissa West pointed out over a decade hybridelsewhere Bjrks work conceives of humans as part
ago, 21 Bjrk blurs the distinction between technology and nature, of a bigger system in which the hybridity is more explicitly
and in doing so she dissolves the polarization of masculinity between organic and inorganic matter. An early exemplar
and femininity. Elsewhere I argue that the music video All of this is the music video Jga, at the end of which the
is Full of Love 22 epitomizes this idea of the human-technology camera enters Bjrks chest to reveal she is made of rock
relationship. 23 In that video Bjrk embodies a human-machine identical to the land she stands on. Whereas this music video
hybrid 24a cyborg modeled on her facial features, lovingly can be understood as a nationalist identification by Bjrk
tended to by robotic arms in a sci-fi futuristic setting, who then with the Icelandic landscape, 25 her more recent work encourages
appears in sexual union with another. The close-up shots less place-bound interpretations, pointing instead to a conception
of cylindrical protuberances, milky substances flowing over of nature in terms of planet rather than place.
cyborgian body parts, the tangled cables linking cyborgs
to robotic arms suggestive of bondage, and the moment This difference in scope is illustrated by comparing
of sexual union inferred from the few seconds blackout All is Full of Love with Mutual Core 26a music video
at the tracks Golden Section are an explicitly sexual and made thirteen years after the former, yet which shares structural
sensual visual representation of a non-heteronormative and thematic similarities with it, and has been described
and cyborgian subjectivity. as a feminist treatise against patriarchy in creation theory. 27
Mutual Core depicts the emergence and sexual union
This feminization of technology is also accomplished of two hybrid creatures in a creation myth narrative. Rock-like
sonically: the cyborgs lip-synch to Bjrks singing voice, and creatures emerge and submerge in aquatic movements in sand,
musical materials culturally coded as feminine and magical in which Bjrk stands rooted up to her midriff. They rise up
(for example, short, scalic clavichord passages) are aligned and display anthropomorphic features: rock strata meet and
with visual shots of the robotic arms tending to the cyborg. caress like tongues, the rockface takes on human features.
The noisy filtered timbre of the slow looped beat pattern At each of the two choruses the hybrid creatures come together
that runs throughout the track has a mechanical character and in a violent eruptiona visual realization of the lyrical reference
starts with the movement of the robotic arms, as if the track to tectonic plates colliding. The audio-visual climax is the union
itself is a piece of machinery (0:19). This is in stark contrast of the creatures in the final chorus as the rock and lava thrust
to the moments of human subjectivity associated with the upward, creating two androgynous Buddha-like figures.
cyborgs: the chorus in which the cyborgs duet accompanied Here the categories of organic and inorganic are as inadequate
by sonic signifiers of emotion and altered states of consciousness as those of female and male.
(vocalize, crescendo of the high-frequency wash on the upbeat
to the chorus, harp-like glissandi, vocal reverberation).
It is possible to understand Bjrks treatment as presenting
a new hybrid entity which confounds dualist categories
of masculine-feminine and technology-nature.
21 25
Charity Marsh and Melissa West, Nicola Dibben (in press),
The Nature/Technology Binary Opposition Dismantled Affecting landscapes: popular music and environmentalism
in the Music of Madonna and Bjrk, in a Nordic context, Popular Music in the Nordic Countries,
Music and Technoculture (2003), pp. 182203. eds. Antti-Ville Krj and Fabian Holt.
22 26
All is Full of Love, dir. Chris Cunningham, 1999. Mutual Core, dir. Andrew Thomas Huang, 2012.
23 27
Nicola Dibben, Bjrk (Equinox), 2009. Cacy Forgenie, Bjrks Mutual Core
video is fantastic, feminist & repeat play worthy,
24 berBice [MRKT], November 15, 2012:
Mike Featherstone and Roger Burrows, eds., http://berbicemarket.com/sports-music-film-art-books
28
Nicola Dibben (in press),
Affecting landscapes: popular music
and environmentalism in a Nordic context,
i have argued that Bjrks artistic output is characterized The problem with such an approach, or interpretation
by themes and narratives of creation and unification that of her approach, is two-fold. If we understand her work as
problematize familiar gendered dualist categories. I focused showing that constructs normally thought of as binary opposites
on sonic examples and compositional practices, but the same are in fact compatible with one another, then this simply
themes are evident in more obviously representational reinscribes the oppositionconstituting the dualities in the very
aspects of visuals and lyrics: her videos feature androgynous process of unifying them. 30 In fact, I find this interpretation
characters, non-heteronormative representations of sexual unpersuasive because it ignores the way her work destabilizes
union, avoidance of sexual objectification of Bjrks own image, gendered categories. As I have argued above, the human-machine
and the presentation of Woman as simultaneously sexual binary is challenged by the entity of the cyborg; the organic-
and nurturing. inorganic distinction is disturbed by creating hybrid entities;
and the differentiation of science and myth (Big Bang creation
Perhaps surprisingly, given the feminist reading of her theory and Mother Nature mythology in Cosmogony) is
work that I have presented, Bjrk herself had until recently been made indistinct. There are no clear categories. Instead, we are
reluctant to identify herself as a feminist. Subsequent to her presented with a non-gendered, non-heteronormative subjectivity
increased politicization after 9/11, and the birth of her daughter, in which creation and procreation are one.
she became more outspoken about gender inequalities, 29
contrasting her own perspective with that of her mothers Hence, I suggest an alternative perspective on her work:
generation of second-wave feminists. It would be easy to read namely, that Bjrk challenges the binaries from the outset. None
Bjrks work in terms of difference feminism in which women of the categories comprising the apparent dualities we might
are aligned with nature and its associated attributes. Indeed, find there are inscribed in her work; rather they are shown to be
such a reading is supported by a track such as Sacrifice there only in our own realization of their inadequacy as systems
from Biophilia, which ponders on how nature positions women of thought to make sense of the material at hand. And so for
to care for others first. Bjrks author-image prioritizes her the duration of a song, a performance, we can experience an
emotional authenticity and her voice as signifier of the natural alternative way the world might be. ||
and pre-technological congruent with dominant constructions
of the female subject in Euro-American culture. Moreover,
her embodiment of nature is redolent of an ecofeminism
reliant on a mystical connection between women and nature.
This amounts to an espousal of third-wave difference
feminismthe idea that there are real differences between
the sexes and a reclaiming of the traditional female roles which
some believed to have been jettisoned by second-wave feminism.
29
Its interesting for me to bring up a girl.
You go to the toy store
and the female characters thereCinderella,
the lady in Beauty and the Beast
their major task is to find Prince Charming.
And Im like, wait a minuteits 2005!
Weve fought so hard to have a say,
and not just live through our partners,
and yet youre still seeing two-year-old girls
with this message pushed at them
that the only important thing is
to find this amazing dress so that the guy will want you.
Its something my mum pointed out to me
when I was littleso much that I almost threw up 30
but shes right. Bjrk interviewed by Liz Hoggard, Andrew Robbie, Sampling Haraway,
Maybe Ill be a feminist in my old age, Hunting Bjrk: Locating a Cyborg Subjectivity,
The Observer, March 13, 2005. Repercussions, 2007, 10: 1.
i have been reading your books for a while and i like them a lot
warmth , bjrk
It was very kind of you to write to me, and Im very touched im thrilled youre interested
by your kind words. I am always quite surprised anyone reads
my stuff! and sorry , i went offline ,
was hiking in iceland and filming a video .
I would be thrilled to be part of the MoMA catalogue.
Your work has been a very deep influence on my way of thinking so i have been doing a little reading and trying to find folks
and life in general. I like to be given homework in terms who could help me define what ism i am ... i guess i managed
of what to write (perpetual student!), so do tell me more about to avoid being analyzed for all these years but now since i am
what specifications you might like. a little older and supposedly wiser i would like to offer up
a collaborative hand and wave hi to theory . well , if i dont do it ,
It truly seems to me that there is some kind of shift happening the art critics will and that seems destined for misunderstandings .
towards ecological awareness--not just in terms of PR i ended up reading several books on posthumanism .
for the science. I have heard this in your work since I started it is not exactly what i was looking for but closest yet ...
to listen to it. most interesting is that it is the first ism where the human
is not at the centre of the world , and the stuff about anthropocene
Yours, Tim is also spicy !! not only to define it for me ,
but also for all my friends , and a generation actually .
i feel in many ways we icelandic people are a bit different from usa
and england . somehow we missed out on the industrial revolution
and modernism and postmodernism and are now coming straight
from colonialism , getting our independence 1944 and going
straight into 21st century ! we have a chance to enjoy our still
almost untouched nature and combine it and headbutt our way
into green techno internet age . so somehow there is way less
apocalyptic feeling over here ... we dont have an army ,
havent been burned by wars or by the guilt that comes with it ...
somehow we are still continuing the romantic age of the 19th
century but it is not back to nature , it is forwards !! i feel this
has been a little misunderstood so far as naive and cute
( a la grizzly man werner herzog
or even worse dolphins and shit !! )
and i havent seen much written stuff in the western media
where this ism is given a mature voice .
I have no idea what ism you are really of course (he said sincerely An artist attunes to what things are, which means sort of listening
and truthfully), and my own ism doesnt seem to have made itself to the future, which is just how things are--I think time is a sort
very obvious! That is part of the whole ism dynamic, of course, of liquid that pours out of hatpins, underground trains, salt
which we humans have been in for about two hundred years... crystals. So a work of art is also listening to itself, because what
it is never quite coincides with how it appears, too. You have
I argue that art comes from the future (and I can prove it?!) to play a long time to sound like yourself (Miles Davis).
so I think art of whatever kind is always ahead of thinking.
Its my job to sort of channel it into the present in words. This is where I think maybe your work is mysteriously realist.
As your art is obviously very clearly open to the future (and from Each work is very unique, quite startlingly so when you compare
the future) I thought Id like to tell you, with helping you on it to how others proceed. So in a way the works are also these
the 2015 projects in mind. nonhumans I keep banging on about.
I think art is a way to talk about the way things are in general: And this is why it doesnt quite fit into an ism because so far
an umbrella, Sagittarius A, coral, breadcrumbs, photons. I believe isms have been historically about ignoring reality, in other words
art is a way to attune to what reality is, which is a weird reality. nonhuman beings.
You did say youd read my books. Me being a bit daft I suddenly
connected with the fact you read Realist Magic, and am even
more touched. I care about all my stuff but that is the one I wrote
from my core. Im so delighted you are into it.
That Michael Jackson trial, it was like that, wasnt it? I found
out about Michael Jacksons death in the middle of a class I was
magic : am filming : will reply properly soon, teaching and the first words out of my mouth were, Of course
but in the meantime i thought id send you this we are all responsible for this (by putting him up on a pedestal
to be the perfect pop puppet, etc.). One of the most conservative
around 10 to 15 years ago i read an interview with an architect students even snorted derisively but I guess he was just reacting
where he talked about the difference between people who invent to his own heavily shielded vulnerability...
things and people who collect things : he said he was a collector
of ideas , he travelled often to india and other places for this . Creation comes out of vulnerability, doesnt it? Some kind
and that he felt really threatened by people who just wake up of attunement to something that isnt you. Susceptibility.
and they have thought of something original .
he called it the tyranny of the oblivious . You seem to allow your voice to be vulnerable, which is very
powerful in fact: threatening vulnerability. Sometimes
i found this incredibly interesting . at the time i had just moved it seems to be in between crying and laughing. Or roaring,
to new york and was breastfeeding a newborn baby at home growling, ululating.Allowing it to be itself, which is a physical,
writing music . 9/11 had just happened and i was following visceral entity.
the news of the michael jackson trial : a public execution
happening . it seemed extraordinary that something so sweet In this your voice seems to be staying in a place of creativity,
and generous could be such a threat ... which for me means being close to things.
This is a reason why I really like your song Virus. Being alive
means being susceptible to viruses and so on. And far more
generally, viruses, patterns, appearance, flowers, art--these are
all far from useless, they are intrinsic parts of being a thing at all.
Causality itself is something to do with magical seduction.
(Five-hour argument compression!) How that amounts to tyranny
just beats me. To me, reality is literally an anarchy. Artists just
arent tyrants. They cant be.
there is this part of me that just wants scientists, stop trying to persuade wrong obvious bankruptcy ?
to talk about elves and sprites yet i disguise people that you are right! just blow them helllo ?
it because others might think it was away with some magic...
believing in something solid. or probably ha ha ha ha
just laugh at me if they are cool kid you and i should do the news conferences
a c a d e m i c s . . . together about global warming we might have to discuss the north later : so much to say .
but overall i feel its underrated how much space is here .
people would soon submit hahahaha plant / people / sound / animals .
THATS
SO
SPOT
were carving out new hope spaces. i just created headspace to go back read
sadness, longing, hope, susceptibility, all of our emails so farand
laughter. good ecological recipes. all these words are so internal now !!!
then how about this: between music and i guess i have a habit of physically
words you are allowing the unspeakable absorbing things which comes in handy
to manifest when i sing . so i guess my only clumsy
way to do this is in a round about way ,
i like this word unspeakable around theory
ha ha
it feels ego-puncturing yet beautiful yet and that might become
weird yet fascinating yet spooky yet the subtheme of our little quest: in your message, theory and art as my isobel was perhaps partly overcoming
physical nonhuman yet human. like slippery-hand-reaches-even-slippery-tail the slippery hand chasing the slippery tail the ridicule of the singer/songwriter
batailles idea of spirituality mission , why this possessed need
i feel also there is a reason why i havent p e r f e c t to tell your tale ? so most of my lyrics
when one feels prana it is like that. the embroidered elaborate phrases so far i have written myself , but roughly
rushing quality and the tendrils climbing about my stance in this world . you know im arguing all the time now that one lyric per album ive sat down
up quality and the hairs on ones body probably because it doesnt sing well ! reality is like jrmungandr, and everything with my oldest mate and author sjn
waving like coral quality. in it is also a tail-biting loop, because of and weve documented together
yes youre right about the unspeakable u r t h . . . this separate mythological character ,
... my lyrics are more like signposts isobel ... but im not sure how much
on musicmoods to kinda shortcut or in your language everything is an isobel it travels to the listeners that it is sort
to the feeling ??? much better than object i do declare of taking the piss a little , i find
it hilarious !!! her name is a little magic
realist drama , kinda sensationalism ,
over-romantic , ha ha .
and she has an urban/rural dilemma
she is constantly trying to solve , ha ha .
as if !!!
you could.
what a pleasure to read !!! and the tone of it , that tilt between humour all my stuff: you can never truly exit the
and awe and humility and yet slightly cocky : i absolutely adore it !!!!!! s w e l l . . .
such a precise mood .......... yes : we can merge and survive some anonymous someone said in the
1 + 1 is three house scene in 1988: just dance until your
i know it ego splatters all over the floor. then dance
on that. because in the inner space,
my author/philosopher friend oddny eir varsdttir pointed out a website to me you find escape routes for people dont it might be like this: there is never ego,
once, with a theory : that if you could put religions on opposite ends of a certain you? i know i can find them for others but there is just this dancing fire. quivering,
homemade scale , where one could measure the amount of feminine emotive sometimes hard to find for myself. t r e m b l i n g .
values and then other pole masculine abstract ( which we all have both of )
zen buddhism would be furthest to the abstract point , where one takes oneself devotion. you know its not necessarily to so the point is to make things that cause
outside the swell and looks at feeling and stuff from afar and empties oneself , a teacher or a human but could be to the the inner space to sparkle or quake. to
empties , empties and if one empties enough one merges with all and nirvana ! teacup, lover, song, dance. not to mention make some kind of subject-quake. its nice
the pomegranate bleeding all over ones in german: einschtterung. inner
and on the other opposite end is sufi , where you fall in love with your day fingers deliciously. s h u d d e r i n g . . .
and your pomegranate and your teacup and your lover and the song you are turning
in circles to : aim is to merge merge merge and if you merge well enough its like enlightened lust. like passion is the impossible to describe--like a mute tasting
you empty and become one with all .so whatever suits your character , basic fundamental force of this universe sugar.how can the river that isnt speak
go this way ... eventually it leads to the same place . and you shouldnt delete that, unless you its merging into the rock.
was thinking about when you wrote : this is my philosophy slogan: thinking want to go crazy or start world war 3.
should know how to laugh, and cry. how you seem determined to include feelings or is it 4 already?! just love this lifeform. you will soon find
in philosophy . no prizes for guessing i feel i belong to the latter group . soooo sufi . yourself in a dance. in this dance, your
( but maybe some dark beats are buddhist , and melodies sufi ? ) intellectual buddhists think its about total partner and you are not one and yet not
abstraction. you never need to handle two. there is a pomegranate, its not just
and it made me think perhaps it is even simpler : you told me you were a pomegranate or evenmeditate. you can an illusion. but its a faerie pomegranate
surrounded by music as a child , the music in my household was like loud get there by understanding.zen can tend bursting with [unspeakable]
like all the time . so this became the ocean i lived in . like physics . sonic liquid . to look at feeling from afar and so they
and all else like life and such were berries on top . and i get so lost without it , have some kind of hangover from that, oh bjrk that is so good, empty empty
like literally a fish out of water . very masculine and careful. empty >> merge vs merge merge merge >>
i didnt really take this thought that much further , empty.that second one is the right way
but it somehow went with the river that isnt and wordsworth dam and but for me understanding = standing for me.emptiness is a kinda abstract word
under surface of the river that isnt. for kind of a sensation, in fact, i reckon.
and perhaps your dark boys and my euphoric matriarchs ?
oh wow yes one takes oneself outside the without the idea that philosophy can cry
hmm .... swell and looks at feeling and stuff from and laugh, the game becomes pure cold
throw in a afar and empties oneself , empties , empties wisdom rather than philo-sophy, the
but then last year and a half , all that I knew so far : wasnt . isnt and gone . i remember so well from that period when like ALL music like ever made
so i tried to dervish me out of it , wringer ranger rotator in that magma got divided into if you could dance to it or not . ha ha ha ha ha ,
before it coagulatedbut non of the old tricks worked anymore ...
so i have been casting me a new set of spanners . just too much thinking had entered music ...
i guess i got like fired from the patriarchs but hired by herds of matriarchs
surrounding me offering ecstatic beats and djing ... so even classical shit or world music or whatever genre
was like erased if it didnt swing ... and the further reach the better :
and ive been thinking a lot about that dark beats are buddhist and melodies sufi... ARTIST
your comment cracked me up look at feeling from a far so they have like drones , buildings or them buddhist things ? looped and gridded
some sort of hangover from that , very masculine and careful ha ha ha ah ha , GAPS
careful hangover from too much distance ... ha ha ha ha ha ha streamlined and abstract swirling sufi style all around you
PHILOSOPHERS
anyway here comes one of my favorite discoveries of last few years ... we must unite the two , tim
MIND
it is by a russian minimalist , vladimirmartynov . but instead of some of the
usa minimalists : being post modern , often ironic and distant , this is full full full in the music now--oh thanks for sending! i love it so much already
passion ! he decided to take favorite pieces his parents played him when he was and im only at 7:06. all the overdrama sucked out and my soul
a child : small sections and loop them . ( talking about the ocean of our parents ! ) can breathe.
so it could have been a pretentious concept job but what is so marvelous is that
it is kinda the opposite . in this piece he takes a 10 minute section from mahlers indeed martynov has found the really hurty bit. well, by isolating
der abschied and with spirally looping it over and over extends it into 40 minutes . that small part martynov seems to let all the human ego drama
narrative melt away until you are left with this non-ego emotion.
so he sort of took one of the most overdramatic moments in recent classical music that is just total [swear word swear word] genius.
and magnified it up like 138457 !! for me somehow the looping serves as a truthful
tunnel into his childhood so it doesnt feel like stealing at all . the telescope you can study it as it rotates and be in it at the very same time
is obvious . not hidden . and then of course the amount of rearranging and mahler minus ego. it is after all the song of the earth not the song
craftsmanship and work he puts into it adds to the refinement and quality of it ... of mahlers strangulation of tim
it is extremely dramatic so be careful but there is light at the end of the tunnel : or even better: just pure pain, no suffering
if you get through it it ends super prettily ... ???
[mp3 file] Vladimir Martynov || Der Abschied thank you martynov, the ego-stripper, you have contributed
this time im not exiting the swell ... and then you get these incredible things: sheep horns, dams, jarm,
foss, voices, antlers, norns, magnetic shields, sun, atoms...it goes
on and on... !!!
really really
The Triumphs of a Heart: A Psychographic Journey Through the First Seven Albums of Bjrk || Sjn
COPYRIGHT MATERIAL FOR REFERENCE ONLY
V V
The Triumphs of a
Heart:
of
Bjrk
once
once there was a girl
and once
once there was a heart
a human heart
her isolation
its witness
still
in the dream
go!
she saw
that she was surrounded
by tall buildings
with lights in the windows
with people moving in bright rooms
behind the window panes
with blinking words and images
on their outside walls
and those
who went walking
came to the square for rest
to demonstrate
to hold hands to fight to dance
yes
the girl had come to a place called city
in city
here
the basic elements of the girls former existence
had been taken apart
particle
by
particle
and put together anew
in ways unthinkable
back home in the lava field the forest
by the ocean
liquids were transformed into fabrics
sand was made transparent
gases burned in colourful glass tubes
electric currents
were harnessed in sound
a vast
and welcoming body
it was synthetic
it was exhilarating
pink
the colour of innocence
that responds to the colours
black and violet
by turning sensual
and erotic
in her celebrations
in her brass-
and breakbeat-fuelled urban enthusiasm
city
but many
in the mirror she saw a girl
yes
her posture
spoke of pavements and dance floors
her six senses
had adjusted to the navigation
of urban geographies
by tidal waves
if travel is searching
im not stopping
im going hunting
im the hunter
to a boy
pedalling through /
the dark currents /
a blueprint /
of the pleasure in me
swirling /
black lilies /
totally ripe
outside
cultured gardens
and streets
home-screens
halted
like the swing
of the handle
on a music box
breath
had become visible
with steam
on her breath
the girl took to the city limits
the time
between morning and evening
by melting snow
in her mouth
it was proven
that travel
is searching
by a boy
possessed
of magical sensitivity
who is it?
who is it that never lets you down?
who is it that gave you back your crown?
and
yes
in unison
no
much closer
and oh!
the joy!
it was a triumph
harmonious breathing
yes
primitive as in primal
primal as in original
original as in primordial
for a mother-girl
can do many things at the same time
feeding a child
and challenging the worlds order
at the same time
was the most natural thing
to her
with colours
declare independence
dont let them do that to you
declare independence
dont let them do that to you
it rejoiced in being
one heart of many hearts
hearts beating in unison
the heart
like the earth in space
the heart
pulsing pulsing
she breathes in
the rib cage expands
she breathes out
it is evening
i shuffle around /
to counteract distance
in the distance
across the water
the lights of city
a cluster of lights
bodies
above her
across space
the lights of cosmos
a cluster of lights
bodies
dancing
to the silent rhythms
of gravity
with love
move the h
HEART
EARTH-HEART Earth-Heart
earth-heart
earth heart
oh yes
the heart
the heart keeps beating
beating triumphantly
beating with the earth
the earth