i like her new music very very much but sometimes i miss the old
funny poppy bjork.

here's the fluke remix of "big time sensuality"

sometimes a beautiful melody can go a long long way, it doesn't
always have to be nosefluits and scrotum snares bjork.

remember?

I'd love to see her do a whole album of shit like Pluto

SupaFunkyOrgangrinderSexy said:

that'd be very very angry

I agree. Seems she's due up for something really accessible.

IstenSzek said:

I have always wanted like a full industrial album from her

I find her fascinating, but musically she lost me with Medulla. While I do miss the poppier songs, I liked the "Homogenic" Period the best which includes Homogenic and Vespertine.

That said I still think she should have stuck to ecclectic nature of the first album.

TRON said:

I think that's what Volta was supposed to be.

IstenSzek said:

I thought she'd seriously be doing an album like this...

I did enjoy Medulla initially but quickly got tired of of. Volta sounded like a load of crap to me since day one, I hated that she intentionally went weird and killed any melodies.

Homogenic was the best example of being experimental but still having great and accessible melodies. If she's not going to be like that for the next album, then I'm not interested.
[Edited 1/9/09 23:58pm]

LiveToTell86 said:

i still love at least 4 songs out of her latest albums. i even like/love a
large portion of Drawing Restraint #9.

but she does seem to go a bit overboard just for the sake of being weird

homogenic was indeed a brilliant example or experimental nature and some
beautiful melodies to give the album an authentic and shimmering core.

the songs are still interesting or good but the albums miss a core lately
imo. there's not much that makes you want to return to them.

especially volta left me very cold indeed. i haven't listened to that one
in it's entirety for more than 2 times. there's nothing there that makes
me want to go back to it. a few good songs, which i listen to on their own
but nothing that makes the album glue together as an interesting unit.

which is kind of weird considering how much of a unit "vespertine" was. she
really did something very special with that one. absolutely fantastic.

medulla still had elements of that but the experimenting starts to tip over
into laughable teriotory right now. i mean, you're listening to these tracks
and all of a sudden there's "ancestors" which sounds like a couple of real
neanderthals fucking. wtf? that's not even a song in an absurd universe. the
idea of an album without instruments was fantastic but the execution could
have been more warm and personal instead of so abstract it didn't feel human
anymore at all.

having said that, the bell choir mix of "who is it" is one of my favorit
songs by anyone ever. talk about fucking beautiful.

which is the reason i keep track of her still. there's always something so
spectacular among her stuff that you just have to pay attention.

I miss the old more accessible Bjork. She really went too far into being experimental and avant garde. She forgot listening to music is supposed to be enjoyable not a chore, like reading a scientific or legal text.
She used to be one of my favorite artists up there with Madonna and Tori Amos,but now I can't be bothered with any of Bjork's new stuff.

I'll always love BJORK'S stuff. She's Great. She's changed alot from the SUGARCUBES. She'll always be WILD with her sound.

See, for me Volta was instant gratification, but didn't last for very long. I think I listened to it on and off for about a month after it was released. I suppose what's telling is that I've returned to Bjork several times since then, but haven't once put on that album. I still love a lot of the songs, but you're right Isten. The album is a bit disjointed considering how unified her few previous efforts were. Maybe that's the point. The colors, the packaging, the bombast seemed like a cross between Post and Homogenic, but with horns and world music as the focus. Maybe it just wasn't enough of a leap forward.

IstenSzek said:

Yeah I'm all about interesting units.

Cinnie said:

you like weird dicks?

I adored Bjork to the point of near worship from the time of Debut through the release of Vespertine. There is not one piece of audio that she released prior to Verspertine, including the white label twelve inches, that I do not own. In fact, I obssessed more over purchasing her releases than I ever did Prince's. But something about the lead up singles to Vespertine just didn't agree with me, and for a good couple years I didn't actually like that album. Now I have a few favorite tracks, but I still think that was the turning point. The magic went out a little after that album (for me). I think I have all the releases associated with that album, but I stopped buying everything she put out after that. I just get the full-length CDs first and then take it from there. I actually liked Volta more than Medulla, but neither one of them give me the chill inducing other-worldly feelings that her earlier work did. My favorite example when discussing this with "true believers" is this mix, which I think is INFINITELY better than the one on the album. Experimental, but it still has a melody and structure that cause an emotional reaction. My two-cents.

Don't know how to put them in the post http://www.youtube.com/wa...gk360PZJ7w
[Edited 1/10/09 10:49am]

TRON said:

it's pretty weird she didn't like kukl. i mean the theatrics and the philosophy of that band were sorta of silly. but the experimenting, is sorta similar to what she does now. big time sensuality is my pick me up song thought..so thank you for posting it.

I think Volta's problem is that she was trying to have it both ways. She wanted to return to the eclectic sound of Debut and Post, yet still found herself a slave to her infatuation with a specific sound with the horns, to make it make it sound cohesive, like she did with Homogenic, Vespertine and Medulla. I don't think it worked out too well, mainly because it's hard to sound upbeat and eclectic when you're drowning everything in french horns and trombones.

Just my 2 cents.

She has said that she's probably going to take 4 years to record her next one though, so maybe in that time she'll take the opportunity to record the songs one at a time with their own specific identities and will have shaken off the need to filter everything through the same "gimmick" or anchor the album in one sound/instrument, etc.

Vespertine was the last album of hers that I was really passionate about but she's had a few moments of greatness since.

Cloudbuster said:

the last time i fell out of my chair, literally bouncing with excitement
was the first time i listened to alva noto's remix of "innocence".

i have almost everything by alva noto and to hear him remix bjork was

listening to vrioon now and wishin ryuichi sakamoto & alva noto would do
one more album and invite bjork to lay down some vocals

oh, before i forget:

IstenSzek said:

Cloudbuster said:

you're fast

IstenSzek said:

Cloudbuster said:

Yeah!
Sure!
Me too!
What he said!
And then what HE said also!
Ditto!
vrioon

I can't believe I had Vespertine for 3 years before listening to anything beyond the first song Used Hidden Place in a Mix and the Mix was so perfect I never wanted to go back to the album. Imagine how smashed over the head I felt when I listened to it for the first time and discovered what a gem it is

I totally agree. As much as I like & respect her, Debut is ultimately my favorite album of hers.

I also feel like she has certain melodic embellishments that she uses over & over again, and it makes her music (for all its creativity) sound a lot alike.