Björk - Fossora

Her more impressive recent-ish videos (Wanderlust, Mutual Core) are the ones with financial backing from corporate. She’s still on an indie label where she’s the main money earner, in a climate where album sales are no longer significant, and her core fanbase is stable but hardly expanding (unless she gets a Tiktok hit). There’s just no reason for her to sink $100k+ of her own money into a video that will probably garner about 1 million views on YouTube when she can save that money for tour production etc. She will always attract top talents dying to work with her so that’s something she doesn’t have to worry about.
(I think she could do wonders with an Apple Music deal, like imagine what FKA Twigs and Spike Jonze did with them but on her level)
 
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What I think distinguishes the two singles as listening experiences is that "Atopos" is driven by a punchy, sticky, infectious beat, so even if the landscape of the song becomes strange and unfamiliar, there is always something solid to grab on, tap feet to, bob head along, rhytmically shake ass to etc.

"Ovule", albeit built with the same elements\structure\logic of "Atopos", has a more irregular rhythmic pattern—the lyrics have no recurring parts and the beats take left and right turns, so there are no big markers the ear can use to navigate the song's landscape, which registers then as disorienting. Although I find the vocal melody and trombone riff prettier and poppier than the "Atopos" ones, I see how "Ovule" might feel a more challenging listen.

But I have to say, I'm enjoying immensely this bizarre disharmonious vibe Fossora seems to have. Like vocals, instruments and beats were refusing to collaborate fully with one another or were assembled to match and mismatch at the same time. It doesn't give a fuck about being pretty or unpretty. It's ugly-hot, if that makes sense.
 
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What I think distinguishes the two singles as listening experiences is that "Atopos" is driven by a punchy, sticky, infectious beat, so even if the landscape of the song becomes strange and unfamiliar, there is always something solid to grab on, tap feet to, bob head along, rhytmically shake ass to etc.

On the contrary, "Ovule" has a more irregular rhythmic pattern—the lyrics have no recurring parts and the beats take left and right turns constantly, so there are no big markers the ear can use to navigate the song's landscape, which registers then as disorienting. Although I find the top melody and trombone riff prettier and poppier than the "Atopos" ones, I see how "Ovule" might feel a more challenging listen.

But I have to say, I'm enjoying immensely this bizarre disharmonious vibe Fossora seems to have. Like vocals, instruments and beats were refusing to collaborate fully with one another or were assembled to match and mismatch at the same time. It doesn't give a fuck about being pretty or unpretty. It's ugly-hot, if that makes sense.
The Michael Shannon/Steve Buscemi of Björk albums.
 
She / Her
The VISUALS.... It's like yassified Hunter on steroids. How can I not stan.

Musically, it does feel like she has finally nailed the formula she has been toying with for the duration of her post-Volta career to varying levels of success. It's not the most captivating necessarily but it does feel resolved.
 
I'm afraid its sounding like a Bjork parody to my ears. I do prefer Oval to the last one

Damn I thought the exact same thing that it sort of sounded like a Bjork parody. Like, almost comical how the song structure and lyrics feel so aimless and steam of consciousness.

But I still kinda like it!
 
Her yassified Cocoon serve!!

I think she has managed to combine here the ethereal fluidity of the melodies of her last two albums with actual flesh and bones, not just because the beats are more prominent but also the usage of bass and the way the songs sound a lot more physical and palpable. Lately she's tended to separate songs into "aggressive" ones and "sensitive" ones and go to either extreme on them, but both new songs seem to marry those two aspects together more intentionally.

By the way, has anyone clocked that the line "When I was a girl / I felt love was a building" has a similar melody to "When I grow up / I'm gonna get one of those fancy keyrings" in Domestica? It took me back to the chorus to Stonemilker having a similar melody to the chorus of Who Is It.
 
Ovule is lovely, a mix of two albums like it's been pointed out by many. The glitchy vocal bits in the production are my highlight. And I like that the delivery sells the line of "demonic deadly divorces" without feeling extremely off-putting like I initially felt reading the lyrics. Which speaking of, the melody of "When I was a girl" is a nod to Domestica's "When I grow up / I'm gonna get those fancy keyrings" right? Love that for her!

The video is cool, albeit very photoshoot-y á la Lionsong/Crystalline/Blissing Me and relying on the CGI a bit too much. The Gucci look is instantly one of her best and she really shines through it, even if the train is directly a rehash of The Gate's ddd.

Atopos remains the superior song/video, and I can't wait to be consumed by mold listening to the album in two weeks' time!
 
By the way, has anyone clocked that the line "When I was a girl / I felt love was a building" has a similar melody to "When I grow up / I'm gonna get one of those fancy keyrings" in Domestica?
Which speaking of, the melody of "When I was a girl" is a nod to Domestica's "When I grow up / I'm gonna get those fancy keyrings" right?
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"When I was a girl / I felt love was a building" has a similar melody to "When I grow up / I'm gonna get one of those fancy keyrings" in Domestica?
Which speaking of, the melody of "When I was a girl" is a nod to Domestica's "When I grow up / I'm gonna get those fancy keyrings" right? Love that for her!

Not us posting the same thought at the same moment the history of touches etc
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I’m screaming at this making ‘Atopos’ sound more conventional. I think I possibly slightly prefer ‘Ovule’ though?

As @Psycho mentioned, I also think the top-line is quite pretty. She sounds phenomenal vocally as well. The production is really interesting in this one and very “alive” and shape-shifting. I particularly enjoy the little explosion just before 2:20. The reggaeton beat appearing again (in 7/4 time ddd) just boosters it with a sense of joy and vitality.
 
I’m enjoying the “I don’t give a fuck” vibes of both songs, but yeah, much prefer Atopos on the first couple of listens. Ovule’s dedication to both losing the beat and the listener is quite something… It’s going to take a few more listens for sure. It’s like a Volta/Medulla track for 2022 but now she’s reciting poetry over a broken beat. Part of me is living for the chaos of that and part of me is thinking “Sis, hold on, let me latch onto something so I can stay in this pls?”

It’s like when you’re walking up to a car to get in and the driver accelerates a bit before you can reach to open the door. It’s cute for a couple times, but eventually you’re like “Hun, can I get in???”

I live for a challenge, though, so bring on the album. And the looks are a serve, obviously.
 
As interesting an artist as she always will be - Ovule just feels like a bit of a failure. Like… the fact it’s tuneless, atonal, basically an awkward mix between spoken and sung (but not as satisfying as either would be) and not particularly favourably mixed only detracts from the experience of what she’s trying to say. It’s a modern Björk song and I’m intrigued a bitsy but this just feels like the pots and pans are clattering but the chef’s lost control of the recipe? Maybe? I dunno. I’m like girl give us a little bit of an in to this work.
 
he/him
Oh I quite liked Ovule. Once again it's the fact that the lyrics are easier to understand, and I enjoy the interplay between the vocal and the production. It's less accessible (ha) than Atopos, but I instantly hear the connection and can imagine Ovule sounding even better in the album's context.
 
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