Discussion in 'Pop & Justice' started by Glitterizer, Oct 24, 2021.
The more I listen to Ovule the less I like it nn.
I really want an instrumental of Ovule. It's so intricate and the vocals (though I like them) are distracting me from hearing all the layers in the music.
Does anyone think that Ovule sounds a little like New World instrumentally, but of course less catchy? I’m liking it though.
Very happy to say that Ovule is revealing itself to me too. It really is just a matter of there pretty much not being a single repeated melody in the topline so you kinda have to familiarize yourself with the whole thing.
Yeah “Ovule” is much better with some time. A Volta/Medúlla rambling with lush production. It’s spoken word draped delicately on a beat, and if you need a hook, let the horns be it for you.
Ok I’m liking Ovule more now than I expected given my frosti initial reception.
Okay but this is iconic.
Freefall is such a breathtaking stunning piece of art. It is a classical masterpiece. It is only her and strings. It is a love song. It is absolutely overwhelming to my ears. It also has a small moment that sounds like it was directly lifted from Biophilia – maybe intentional because it corraltes with the lyric "our solar systems coalesced". It is so vulnerable but also so uplifting. A masterpiece for me.
Sorrowful Soil starts with just a choir and her voice, with just some bass coming in. But mostly choir. Together with Ancestress it is a monument to her mother. The combination of both followed by that Icelandic traditional is such an intense farewell. It feels like Fagurt Er í Fjörðu is the acceptance of a beloved one being connected to all that what was until now. I think this is also why there is some silence before it. It is short but heart breaking in that context.
I have been sitting with this album for a couple days now and it invaded my mind completely. It starts with the known songs followed by very deep emotional landscapes, an abrupt stop, just to be slowly evolving into something positive. Victimhood is haunting but pushing, followed by the delightful, almost bass driven Allow, just to go into the sexual Fungus City (not exactly the music but the lyrics), an almost naively positive world that will explode, just to connect a lot of dots in the end.
Some of the flutes on Fungus City remind me of some Legend Of Zelda song but I can't pinpoint which one. But again this is just me with my limited musical horizon. Something sounded like something. And just one small part of the song so don't expect much.
It is a ride. It is brillant. I honestly think this album is in the upper half of her discography easily. Everything since and including Volta had skips for me but this does not even if it is just because everything is interesting and well composed. It is a competent reduction of everything that happened since and exactly that.
No we do not get old Björk back but we get the best she has been ever since. Atopos and Ovule introduce the album perfectly while also not giving away anything.
Also the title track is a tsunami. The short distorted second verse followed by the heavy bass and the silly mid part is one of my favourite Björk moments ever for me. It is also one of the very few times you can almost call something a chorus löl. Her singing fooooOOoooOOOO SoooooOOOOraA a couple times is the closest we will ever get to Sia style Björk song haha (it does not sound like Chandelier do not get me wrong – it is just her melodically repeating a word)
Just for fun, what's your least favorite track?
Trölla-Gabba. The only moment that feels inessential. Not bad though.
Just to put this into perspective, what do you think of Ovule? Thanks for sharing all these info! I was just surprised from your description to find out clarinets do not seam to be the main instruments and songs changes from brass to flutes to strings and clarinets.
I think Ovule leads into the album perfectly after the statement that is Atopos. I like it a lot. It takes me back to Volta's moments like Wanderlust and Vertebrae.
Clarinets are only on Fossora, Fungal City, Atopos and Victimhood. Guess she is little Trölla.
4 out of 13 songs… she’s so unserious. But I guess it’s nice to have an album not so heavily based on one thing again!
As a certified clarinet player in my youthful twinky years I can say... clarinets are cute but in the list of most one-note things ever they're certainly up there.
The way this album’s marketing and visuals have bludgeoned me into stanning both new songs (in principle) despite initial misgivings and now I can’t stop listening to Spotify playlists of her recent set lists so I can reinsert myself into her world. Utopia sounds like chart fodder compared to the first two Fossora singles and I’m here for it. I don’t even care if I’m not reaching to replay the new tracks because I’m just grateful to be back in a Björk phase. My pals are talking about her and “wanting to get into Björk finally” and I’m READYING the introductory playlists for any gay that’ll give me a moment of their time.
Pitchfork interviews Björk
The Pitchfork piece talks about a two-song music video that acts as a “ritual funeral procession in a mountain valley” for her mother filmed partly also next to a volcano, that will come out when Björk is ready. Needless to say I’m salivating at the thought.
This is a fantastic image!
The lewks are not just the only serve, but so is the composition and colors for all of these promo shots. The usage of teal/maroon/violet/goldenrod through the videos and images is very pleasing to me.
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