I agree with basically everything and would like to add that I love it that she's stopped falling for the "this is my x-instrument album" because they always end up being more than that. This time going for her full arsenal of musical capabilities from the go resulted in, from what we've heard so far, an album that houses various facets of her music simultaneously. Yes mother, give me tesla coil bass over clarinets and gabber beats!
We are honestly lucky she still has the drive and creativity and generosity to keep giving us music. She could have simply disappeared from the public eye like Kate Bush!
See, it's easy to make bad faith and misspelled assumptions about this output, but for me this is like the mjöthership landing back on her home planet after a loooong journey around the galaxy. The "ground" theme is really taking shape for me. I've been a fan since Volta and her strongest moment for me since has been Vulnicura, Black Lake in particular, because of what a moment of clarity the first half of the album felt like in an otherwise rather random arc of her career. It feels important to see her revive that torch song structure she invented for herself during the last period of loss in her life and transform it into a monument for a loss with much deeper finality. The thing is, Björk's solo discography has always been esoteric, insular and autobiographical, but there's tons of new ideas here both visually and sonically. I've been into everything from this campaign but it's all really clicking for me now, and it's immensely rewarding to see her achieving what feels like her final form. By that token, I find it appropriate and very welcome for her to be self-referencing. It's been really enriching listening to Sonic Symbolism as well and getting an intimate taste of how she thinks of her work. Her descriptions of Volta were considerably more abstract than some of her previous albums, and I can see how things start to dilute as she departs from her internal world. Here, however, it feels like she has a comprehensive grasp of everything she's explored prior and is weaving it together in a rich, complex way while still managing to keep exploring and bring freshness to her material. God I love her so much.
It’s interesting how upfront people are being with their criticism of Bjork’s latest work this time - and it’s not only on here. Usually the criticism comes after the fact. I’m so used to fans hailing everything she’s doing at the start of an era because it’s something new. It’s kind of refreshing in a bizarre way. I think Utopia really changed the Bjork fan world. It still seems to be such a divisive album. More than anything, I’m enjoying the visuals for this album. We do seem to be veering into some very familiar Bjork tropes again, so I get where people are coming from. We all have to keep in mind that we’ve only heard 3 songs so far.
Maybe I've missed some comments but overall I've seen a lot more interest/praise for these new songs than I have in a long time, especially on this forum?
This is what I was thinking! It’s the most excited I’ve been about new input from her in years, and the response on here/from my mates has been ecstatic, especially after Utopia.
Just listened and it's more in the Atopos family. Also has the most semblance of a chorus I think we've heard?
She's a cute, silly girl! I can't believe she's releasing bangers like this and Atopos but is coming with Orkestral to Primavera Festival instead... No I won't shut up about this!! In other news, Ovule continues to be a massive grower. I just listened to the 4 songs in a row and I couldn't be more excited.
After Utopia this is so refreshing. Fossora the song could have been the first single. I love it very much. You all should listen to it with headphones, it's wild. Can't wait for friday.
