Discussion in 'Charts, rates etc' started by Animalia, Mar 7, 2016.
No! YOU lie in it.
(Yours for only $99)
I can't decide if this is cute or terrifying.
Aw that should've stayed in a bit longer! Not gonna get too upset though cos I have thirty-something 10s remaining (I know, that's a tad overzealous..)
I kind of low key love this.
All the 'Vulnicura' love and the '5 Years' hate?
I'm confused, sickened and crooked, five fingered!
Ha ha I was right. Black Lake next please!
Vulnicura certainly isn't perfect!
= #51 – Scatterheart (7.66)
Highest: 10 x7 (@AllGagaLike, @JamesJupiter, @funkyg, @NecessaryVoodoo, @Aester, @Can't Speak French, @enjoy)
Lowest: 4 x1 (@Up Down Suite)
As if Selma didn’t have it hard enough as is. Dancer In The Dark’s soundtrack sees another loss, leaving only two of its tracks remaining in the Top 50.
Scatterheart represents something of an… um… turning point, in the movie. Those of you who have seen it will appreciate how hard it’s gonna be to talk about this song without spoiling the plot, I hope. Basically, Selma is forced to do something awful that has massive implications for herself and her family – but she really had no choice. It was do or die. Let’s just say that Selma’s emotional well-being takes a slight turn for the worse as a result, and as always, she uses music as a way to escape and soothe herself. The song itself sees Selma attempting to comfort both herself and her son while coming to terms with the reality of the situation and wishing more than anything that she could change the past and the future to protect them both, but knowing the inevitable is coming.
Originally titled “Smith & Wesson”, Scatterheart is made up of three distinct phases; the song starts off with scattering, static electronic production as Selma enters her daydream, but gradually shifts into an over-dramatic orchestral composition as reality sinks in. Much like the middle section of Family, I see Scatterheart as the sound of someone descending into a deep, inescapable madness. And the corresponding scene in the movie fits it perfectly. Having said that, it kinda drones on a bit without much happening; I love it, but it’s not without fault. Thank god the album edit of the song cuts out Selma’s son’s tuneless wailing in the background, though.
constantino comments that “her vocals are great but there aren’t enough ideas here to justify 6 minutes’ worth of song. Halve the running time and then we’ll talk. I do think this works in the context of the film, but not outside of it.”, and I totally agree. It could definitely afford to be cut down by a good minute or so. One Stop Candy Shop calls it “okay but also a bit boring”, which due to its length I also kind if agree with, unfortunately. “Love it!” AllGagaLike proclaims, “It's the perfect transition from Homogenic to Vespertine”, an idea shared by Push: “The microbeats are an adequate preview of Vespertine, and overall the song could be the convergence of said album and "It's In Our Hands", a more somber, haunting interpretation of both. The "chorus" just sounds bad, in my opinion; the final strings are lush.” Wait, chorus? I don’t know ha. Zdarlight apparently does though. “I tend to forget how good this song actually is. Thanks to this rate I rediscovered it and loved it more than I remembered. Great production and I love the way she belts out the chorus.”
“The film version is superior,” P’NutButter claims, “but it’s an incredible track and sorely underrated.” Does tied 51st count as underrated in this rate? Considering the consistent high quality of pretty much everything left, I’d say this is a pretty good show for ol’ Scatterheart. Can’t Speak French also suggests that “this could be slipped into Vespertine and the first-time listener probably wouldn’t notice anything out of place. Beautiful.” I usually prefer to finish on a positive note, but I can’t not let Ray play us out, since this one single track appears to be the seed from which the roots of his problem with Björk first sprouted: “A missing Vespertine track, obviously. Beginning of that… I don't know how to describe it but she goes ‘yourseeeeeelf’ and the way she modulates her voice in the ‘seeeeelf’ part is something I find unpleasant, and it would stay with us for the rest of her career.” And so it began. Poor it.
In place of the usual remix/live performance videos, let me just put this here because the second half of the tie is A FUCKING MESS AND I HATE YOU ALL.
You know you can't post something like this and then leave us waiting?
I had to emotionally prepare myself and make dinner.
I could weep for those last two losses, seriously heartbreaking material right there.
- I remember actually sobbing at the point of Dancer In The Dark when Selma wades into the lake.
= #51 – Harm of Will (7.66)
Highest: 10 x8 (@Andy French, @Petty Mayonnaise, @enjoy, @kermit_the_frog, @clockworknovak, @P'NutButter, @Aester, @Animalia)
Lowest: 1 x1 (@Baby Clyde)
I don’t even know where to begin here. There’s no way I can do this justice; I've spent ages staring at the screen trying to articulate exactly why I love this song so much but it's just... glorious. It's perfection. Harm of Will is fucking gorgeous – hell, it’s probably the single most beautiful composition in this entire rate. It’s sensual; it’s epic; it makes me smile; it makes me cry; it takes me aback with its sheer beauty every single time. I have to physically pick myself up after being floored by that breath-taking climax of choir and strings with Björk’s glorious signature wailing at the forefront, ughhh. Thankfully our generous queen then allows us time to recover with an equally lovely, serene outro leading into the album’s finale, but I still feel emotionally exhausted after listening to this. I honestly would proudly place this in my personal Top 10, it’s that stunning. But hey, apparently it’s not even Top 50. I go to all the effort of organising and running this rate, and this is how you lot repay me? HMM.
As well as being the third and final Guy Sigsworth Vespertine collaboration in our countdown, film director Harmony Korine (who co-wrote Lana’s “Florida Kilos” and directed Rihanna’s “Needed Me” video) also shares a co-authoring credit. Björk befriended Korine after meeting him at “some celebrity party” and sharing funny stories – he then provided much-needed support while she was filming Dancer In The Dark, since he understood the trials and tribulations of the movie-making process. He then wrote the core lyrics of Harm of Will, and Björk ended up recording them spontaneously, saying: “I like things when they happen like that; they grow like natural plants. His lyrics are similar to his films. They have this force of nature. There is a spontaneity, an impulsiveness, of letting things run loose. Harmony is not inhibited.” Which might explain why he was banned from The Late Show with David Letterman after being caught going through Meryl Streep’s handbag in her dressing room I_CANNOT_USE_REAL_WORDS_PROPERLY_. But anyway, yes, how are you all gonna try and talk yourselves out of this mess, then?
While I’m not surprised that Ray doesn’t like it, I’m still disappointed. “This is like the album version of ‘All Is Full Of Love’, only it doesn't work.” Nah. Push lands themselves in the flop part of the commentary too: “This is obviously amazing, but not my favourite.” IT SHOULD BE EVERYONE’S FAVOURITE THOUGH. “This angelic choral masterpiece!” Preach, constantino! “A great way to bring the album towards the end, this just ~transports me~ every time!” Close your eyes, take a deep breath and be carried away to sonic heaven by that climax, teebs. AllGagaLike calls it “so beautiful, tender and intimate”, so they’re officially in my good books. Thank you, AllGagaLike. “A bit of a discovery for me.” admits One Stop Candy Shop, “I never really noticed Harm Of Will but it suddenly hit me so hard.” Better late than never, I guess! Play us out, P’NutButter. Spread the gospel. “It won't matter the placement of this song. It is for me, the most beautiful song ever recorded. I cry every time I play it.” The placement does matter though. I know this word is thrown around a lot when rates don’t go as expected, but this. is. a. DISASTER.
WHAT THE FUCK?
That Royal Opera performance is just celestial, I just watched it again now and I had rushes of goosebumps and tears streaming. Oh I love it so much!
@Baby Clyde ?!?!?!
Sod off Heirloom and Violently Happy!
Today has not been a good day.
I gave it a 4. Hurry up to the proper good stuff.
Separate names with a comma.