Discussion in 'Charts, rates etc' started by Animalia, Mar 7, 2016.
Quoting for the next page:
I love the It's In Our Hands artwork!
Heirloom makes perfectly sense as an album track, but it's not really something that stands out for me (In the leaked version it was actually called Crabcraft, and actually the leaked version has a waaaay better version of it's in our hands)
Lionsong, I am bit sad it got kicked off, I think it's a great track, actually I am quite surprised to see so many Vulnicura tracks leaving before the top 40!
For me, I love everything in that top 40, but I prefer Homogenic on-wards... (Is that blasphemy?)
The top 40 (plus some questionable omissions) reminds me that she'll release an amazing updated retrospective one day. Probably in at least 6 different formats and configurations. And I'll buy every one because it's Björk and I hate myself a little bit for it.
You'll get another Family Tree-style set with one of the CDs being just string quartet and beatbox versions of The Comet Song, Hollow, Dark Matter, Ancestors and a Peter Stormare solo version of I've Seen It All and you'll deal.
Cvalda [Catherine Deneuve with Choir & Organ 7 Minutes Version]
Echoing what's already been said, that is one impressive top 40. There's definitely some swaps I would do with some of the recent eliminations if it were up to me (Crying, Violently Happy, Possibly Maybe) , but at the same time, I can't really argue with any of the inclusions there.
I cannot believe Crying survived over Lionsong. That is just wrong on so many levels.
I'm still sulking about Declare Independence
My commentary is so melodramatic.
Still, that is a very strong Top 40.
Crying and Isobel need to fuck off now, as does most of Medulla.
Hiyaaa. So yesterday was my last day of uni and I don't know why I wasn't expecting to be going out after, oops.
I'll try get a few done before my Eurovision party tonight (yaaaaaaaas)!
Can't wait to see Come To Me rightfully out later xx
COME TO ME CAN STAY FOREVER
Come to me is beautiful. Even a non-Björk fan friend said it was dreamy.
HIYA. Apologies for the delay, last night was a hot mess & I was feeling a tad... fragile this morning.
Let's get a move on, shall we? What's our first song to leave in the Top 40?
#40 – Mutual Core (7.95)
Highest: 10 x11 (@Remorque, @P'NutButter, @Zdarlight, @constantino, @vikeyeol, @JamesJupiter, @AllGagaLike, @Up Down Suite, @Andy French, @Petty Mayonnaise, @Animalia)
Lowest: 1 x1 (@Baby Clyde)
The little bop that could finally falls victim to The Biophilia Curse. This was hanging around between #46-48 before the last few voters swooped in and bestowed Top 40 greatness upon it, so thank you. It deserves it.
Mutual Core was kinda-sorta the fifth and final single taken from Biophilia, but technically it was just one of those Björk songs that enjoyed video treatment and promotion despite never actually being released in any form. Mutual Core, much like Virus, is a love song masquerading as a biology lesson – Björk uses the structure of the earth and the movement of tectonic plates as a metaphor for human relationships and how they can grow together and apart. Produced by Björk with additional beats from 16-bit and Matthew Herbert, Mutual Core also mimics these geological processes sonically, with the shift from the sweet, subtle verses to the explosive dubstep-esque (ew) chorus seeing a change in time signature from 5/4 to 2/4, mirroring the unstable, unpredictable nature of the earth. Obviously, lyrical nuances and song structure aside, it’s also a fucking bop of epic proportions. Almost five years on and it still high-key sIays my puss every time.
The app for Mutual Core was a video game-type device in which the user arranged layers of rock to form an accordion-like instrument to play chords during the verses. When the life-giving chorus kicks in, the focus of the game shifts to clearing away layers of rock in order to reach the planet’s core (of course). It’s kinda cool, I guess.
A music video for Mutual Core was commissioned by the Museum of Contemporary Art in L.A., and was directed by Vulnicura-collaborator Andrew Thomas Huang. Björk said that she “kind of gave him a color palette and asked that it be about the fate of two tectonic plates, and how we are making 'em work together. And it was all about geology in a way”, and said that she initially contacted Huang after seeing an early video of his that involved sand and deserts, which may or may not be this amazing video? Who knows, Björk couldn’t remember the name of it during the interview. The Mutual Core is bloody fantastic though, it’s probably one of my favourites of hers. I hate that blue wig though. Serving up Laganja Estranja realness and I am not having it. Anyway; as if we all weren’t fully aware of Björk’s eterntal, far-reaching relevance and importance in the world, the video for Mutual Core – an album track on one of her least successful albums - was chosen to be played as the countdown to midnight on the screens in Times Square every single night for a whole month, as part of some art initiative thing. Queen.
“Okay, this one is fabulous,” Up Down Suite starts, “I quite like the lyrics and the production. Finally a change for the better on the album. I listened to this on a surround system and the layering is absolutely stunning. Good job saving this mess, queen.” Can’t Speak French has some rather unrealistic expectations. “This will probably do better than it should but I ain’t too mad. They should play this in the klerb, it would go AWF.” That could be applied to either half of that, actually. “I wouldn't call it a career highlight, but it’s my favourite song from Biophilia” says One Stop Candy Shop, and they weren’t alone there: Zdarlight wishes “the part near the end when the additional beats kick in would last a little longer than 5 fucking seconds”, but still calls it the best song on Biophilia; and Nightmare Boy’s feelin’ the same. “40 minutes later, Björk finally seems to be able to get past her tics and tricks. A huge stand-out moment, and not just because it's stuck at the end of such a dull album. Strong melody, strong delivery. This one should be considered among her greatest works.” It managed to scrape into PJ’s Top 40, if that counts? Poor it. Yas at Push using one of my favourite words when talking about one of my favourite songs. “When the build-up makes way for a full-blown mélange of the vocals and the electronic background, the impact is massive.” Mélange. Amazing.
All y’all ready for the penultimate chapter in Ray’s Zoophilia Chronicles? “I like the title. It sounds like ‘The Anchor Song’. What did I give ‘The Anchor Song’? 4. Good. Why do ALL songs on this album except ‘Crystalline’ start with droning? I'm at 1:06. As it was with most songs before, nothing of interest happened yet. It has something that would like to be a chorus but it's the most painful bit. Hey! It starts at 2:10! I still don't like it but at least I don't like it in a different way. WHAT A BOPP. Kidding. I am almost done. Droning is back! Well I couldn't wait for that. Go away, ‘song’.” Your commentary is as much a rollercoaster as the song itself, Ray. Never change. P’NutButter calls it one of Björk’s “best tracks of the last decade”, adding that it’s “such a shame people don't give the album a chance - they'd be rewarded!” Indeed, Mutual Core does feel like a reward for making it through the album alive/awake. “The Teutonic Plates mix remains superior but this is still a masterpiece” says AllGagaLike, entirely correctly cause that Matthew Herbert remix is FUCKING AMAZING. As if the album version doesn’t go hard enough, oof. It’s honestly exhausting. Finish us off with a bunch of words I didn’t expect to see in this rate, constantino! “Is it bad that I tend to slutdrop and thrash when the dubstep breakdown comes in? Obviously not, it’s a fucking incredible moment. This is an absolute monster of a song and I think its position in the track listing makes it feel very unexpected which heightens its pussy-annihilating powers.” 'Pussy-Annihilating Powers' for B9 title, please.
Okay, how are Crying and Violently Happy are still in? This Sacrifice (now on iChunes) of Mutual Core disgusts me.
Pain and Suffering in Various Time Signatures is gone. ("Crystalline" doesn't count as it's actually good.)
Because Violently Happy is an amazing song in which B sings about driving her car too fast whilst Mutual Core comes at the back end of an album that would have made one fall asleep at the wheel before they got to it!
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