Discussion in 'Charts, rates etc' started by Animalia, Mar 7, 2016.
I actually think that Atom Dance makes sense lyrically in the context of Vulnicura, it's about realizing you can still love (of course it's definitely a bit too biophilia-ish and not as blunt as the other songs, but still).
The Dull Flame Of Desire it's great, but it lacks something to me.
The drum section at the end of 'The Dull Flame of Desire' leading straight into 'Innocence' is a RUSH.
Tonight sees the next cut that I ain't at all happy with, booooooo.
So, which song just managed to clinch the tie over The Dull Flame of Desire?
= #67 – Virus (6.93)
Highest: 10 x7 (@Adzie, @Cool Beans, @constantino, @Petty Mayonnaise, @enjoy, @clockworknovak, @Push)
Lowest: 2 x4 @Ray, @kermit_the_frog, @Baby Clyde, @Booers)
All together now! Poor Biophilia. Only having three songs left standing at #67 is a wee shame, but I don’t imagine anyone would say it was unexpected.
Virus was the 3rd single from the album; released on August 9th, 2011, it managed to hit #35 on the UK Indie Chart, which I wasn’t aware was actually a thing but I guess that’s sorta the point. Written with our good friend Sjón, the song is focussed on mutually-destructive relationships, likening them to the relationship between a parasitic virus and its host: "It's a kind of a love story between a virus and a cell. And of course the virus loves the cell so much that it destroys it.” Björk was inspired by her own case of candidiasis (a fungal infection she suffered after Volta), as well as by an educational film about mind-controlling parasites, which are super awesome and you should all go read about, teebs. Musically, Virus showcases the gamelan-celesta hybrid “gameleste” custom built for the album, giving the song its unique, adorable instrumentation. The Virus app was a video game in which the user must defend a group of cells against attacking viruses; however, the song is the virus, and so it stops suddenly if the game is won. Which is a pretty damn cool idea. Additionally, tapping on the cells changes parts of the song.
There’s no denying that this song is super cute, and houses some of the most gorgeous sounds and melodies we’ve heard from Björk in a while, but I’m not without my issues with it. I explained earlier that my main problem with Biophilia is that the scientific theme is taken a tad too far on occasion, and Virus is the biggest culprit. A love song about needing someone like a virus needs its host is an adorable li’l concept, but I find the lyrics take the theme way too literally and it comes across as more of a biology lesson than a proper song. I dunno, maybe it’s just because I studied this area and have endured countless 9am virology/cell biology lectures, but it all just feels a bit forced and juvenile to me. I just think Björk, with all her proven song-writing skills, could have done so much more with a topic as incredible and complex as viruses. But hey, I still enjoy the song, and that’s just my opinion anyway. What do y’all think?
“I would’ve tried to submit this album for my GCSEs as coursework or something back in the halcyon days of yore, the lyrics are very ‘show your understanding of the topic in excruciating detail’.” Yas, back me up Can’t Speak French! Up Down Suite’s commentary was a tad more… vague, amounting to a single “EH”, while AllGagaLike calls it “one of the app's best games, and a very nice song overall.” Would this be a bad time to admit that I’ve never actually played any of the app games? Flop host, I know. But I didn’t have a compatible device at the time and then by the time I did I was just kinda… over it, teebs. Sorry ‘bout it. “The start is very lovely and I can dig those ‘oooh-ooohs’,” starts One Stop Candy Shop, “it just gets messy towards the end unfortunately.” It does trail off a bit, doesn’t it? NecessaryVoodoo digs the cutesy feel, asking “who'd have thought a ditty about the probable future destruction of the human race could sound so sweet?” Only Björk, really.
Future best-selling author Ray gives us an insight into his specialist Biophilia scoring process. “Yes, my Spotify has obviously been taken over by a virus. Hohoho. This sounds like it could possibly be less skippable than the ones before it. 1:06 and it still hasn't done anything interesting. 2:28 and it remains terrible. There are a few seconds I liked so far. Have a 2.” The generosity is real, folks. P’NutButter once again mentions the best remix before I get the chance to, so THANKS FOR THAT. “Sweet little song, but the Hudson Mohawke Peaches remix on Bastards blows this out the water!” It’s soooooo good, right!? Push loves the album version quite enough, though. “Ooh, I like this a lot. I HAD HEARD THIS BEFORE. I LOVE IT. It's so enchanting and lullaby-like. The "oooooh ooooh"s that are essentially the hook are quite possibly one of the greatest, most endearing moments in Biophilia.” The ooooooh-oooooohs really are among my favourite moments on the album, too. Maybe cause they’re some of the most, well, song-y parts. We’ll end with poor li’l constantino, mainly cause I feel bad about cutting his first ten after his earlier praise. “Awww I love this one! The instrumentation is just so pretty and light, the twinkly-ness is adorable and makes me feel all fuzzy inside. It helps that this song is extremely well-composed and the layers were clearly assembled with care and the attention to detail this project deserved.”
Does it improve them?
Now that's just cruel. I can't see how one who's into Bjork wouldn't like this at all, and there's a good few weaker songs on the first 4 albums still in. And yes, the remix is even better than the album version.
That remix right there is one of the best of Björk's whole career and one of the best remixes ever, it transforms quite a limp, simplistic love song into a foreboding and powerful love anthem.
What. The. Fuck.
No, my first 10 has fallen!
I think the melodies in Virus are just so lovely, it was a love on first listen, and really stands out on Biophilia for me. Definitely out too soon (seriously, how is most of Selmasongs still hanging on over this?)
Very sad. Still absolutely wrecked that 'Moon' left so early though.
I_CANNOT_USE_REAL_WORDS_PROPERLY_ I knew that was coming.
What a shame, though.
Ugh. Not going well for me.
That remix is amazing!
something something sleep
#66 – Headphones (6.94)
Highest: 10 x3 (@AllGagaLike, @P'NutButter, @Petty Mayonnaise)
Lowest: 0 x1 (@Booers)
We see our second loss from Post now, as its closing track is lulled into endless sleep. Perhaps another victim of the curse of the interludes, but I can’t help but think this one’s a tad overdue. The sentiment is lovely, and I’m sure we can all relate to it, but despite stretching across five and a half minutes, it’s not really much of a song, is it? It’s a bit of a limp end to such an eclectic, bombastic album.
Headphones was co-written and produced with Björk’s then-boyfriend Tricky (the recording artist, not the far more famous producer), and was inspired by the mixtapes Graham Massey would compile and gift to Björk. Some of the lyrics are taken directly from her personal diary, talking about how these tapes would help her through tough times, about the soothing, healing power of music: “"You're pissed off with things generally, you save it until the evening and after you've had your bath and brushed your teeth, you go to bed and take your walkman and put your headphones on and you fall asleep...". On the level of the music itself, Headphones is “a love letter to sound” itself, deliberately using stereo pans and other headphone tricks to heighten the atmosphere of isolation and fragility. It’s a fantastically intimate song, and I appreciate all its complexities, but while Sonnets/Unrealities was an interlude-length song, Headphones, to me, feels like an overly long interlude, rather than the spectacular closing number the album truly deserves. Over to you guys!
One Stop Candy Shop asks the question on everyone’s mind. “Is it a joke that you actually need headphones to hear this song? I can really dig it though.” The levels on this song are all over the place, it’s really off-putting when you’re not listening with headphones. ARTPOP who? constantino complains that this is “a bit of a disappointing closer,” but they “always knew this was a top-heavy album.” Booers proves that their extreme scoring metric does extend beyond Medúlla and Biophilia, thankfully (?): “such a shit ending to an otherwise pretty decent album – I don’t give zeros often [there are plenty more to come once we hit Medulla onwards] but there is nothing good to say about this whatsoever.” Nothing is a bit of a stretch, but okay. “Takes me mind to a whole different level,” says Up Down Suite, “very psychedelic.”
“’My headphones, they saved my life’. Popjustice anthem?” asks Can’t Speak French. I wish I enjoyed this song more than I do for that exact reason. I want to love it, but it just doesn’t go all the way for me, sadly. Ray calls Headphones a “prototype Mer Girl”, which I think is a compliment? I’ll take it as one. “More often than not, this track has indeed ‘lulled me to sleep’, AllGagaLike admits, “it's the perfect song to listen to in the dark, curled up with your earphones, letting Björk's soothing voice take you away. (The Telegram remix is equally gorgeous). ‘tis indeed. I love all of y’all getting to mention my favourite remixes before I do. *grumble grumble*. Zdarlight agrees with Björk that “this is very interesting”, and ephemeralartery gets a bit explicit: “sounds like she’s saying ‘Puta! Puta!’ near the end, which is a fun way to end the album- Bjork calling the listener a bitch in Spanish.”
“WHAT KIND OF AMAZING PRODUCTION?” screams Push, before continuing “Your life isn't complete until you listen to this on headphones! After years of listening to this album I think this is actually my first time doing so and I'm dying here. A great conclusion to a great longplayer.” I’m glad someone appreciates it as the album closer, at least! We’ll finish with the lovely P’NutButter, who has a deep emotional connection to the song: “I had a breakthrough with this song when I listened to the remix on Telegram, it just really moved me. Now whenever I listen to this song I think of my childhood and how I used to scream into a pillow so I wouldn't have to hear my parents arguing and feel the worry. The warm on the pillow and curling into a ball. Personal and precious, that's what this song is, it's a comfort.” The healing powers of music, indeed. That’s what it’s all about.
I thought in reassessing Headphones as a grown up I may find some redeeming qualities in it, but no, it's still shit and seems to go on forever. Post is a good album but let down massively by the last two tracks.
In the voice of Susan from Coupling: there is a famous producer called Tricky? One that isn't THE Tricky?
Either my life has been a lie or the other Tricky produces famous musicians such as Latte Grande, Justin Bieber and Selena Gomez.
I've never heard of another Tricky than Björk's Tricky. If I'd see "produced by Tricky" somewhere, I'd always assume it's Björk's Tricky, but now I don't know what to think. Who is Tricky? How many Trickies are there? Who is the most famous Tricky?
It's tricky, isn't it?
Headphones is lovely, but I sort of expected it to leave about now.
Eh. No problem with that cut.
Speaking of Tricky
Oh yeah the "other" Tricky always confused me though I guess if someone mentions Tricky most people [who would know of a Tricky] would think of the Maxinquaye Tricky first? Or am I just biased and Tricky Stewart is actually more widely known beyond liner notes?
The "hoo da, hoo da" at the end of Headphones just makes me think of "I-G-G-Y", regrettably but also amusingly.
Separate names with a comma.