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Björk bastards (2012)

Björk – bastards
Birth name: Björk Guðmundsdóttir
Born: 21 November 1965, Reykjavík, Iceland
Location: Iceland
Instruments: vocals, keyboards, piano, flute, drums, piccolo, harmonica, harp, oboe
Biophilia release date: October 11, 2011
Album "bastards" release: November 19, 2012
Record Label: One Little Indian
Duration:     xxx
Tracks:
01. Crystalline (Omar Souleyman Version)  6:39
02. Virus (Hudson Mohawke Peaches And Guacamol Remix)  4:49
03. Sacrifice (Death Grips Remix)  4:17
04. Sacrifice (Reprise) [Matthew Herbert's Pins And Needles Mix]  0:37
05. Mutual Core (These New Puritans Remix) [Feat. Solomon Islands Song]  3:54
06. Hollow (16-Bit Remix)     7:00
07. Mutual Core (Matthew Herbert’s Teutonic Plates Mix)     5:05
08. Thunderbolt (Death Grips Remix)     5:04
09. Dark Matter (Alva Noto Remodel)     5:40
10. Thunderbolt (Omar Souleyman Remix)     7:23
11. Solstice (Current Value Remix)     6:28
12. Cosmogony (El Guincho Remix)    
13. Crystalline (Matthew Herbert Remix)     5:17
Sample credits:
"Mutual Core" (These New Puritans Remix featuring Solomon Islands Song) includes samples from the Traditional composition "Funeral Song (Solomon Islands 1978)", as extracted from the album Spirit of Melanesia by David Fanshawe *.
* Notes: David Arthur Fanshawe (19 April 1942, Devon – 5 July 2010) was an English composer, ethnomusicologist and self-styled explorer. His work is situated at the crossroads of traditional and modern music. His best-known composition is the 1972 choral work African Sanctus.

 © Photo credit: Brantley Gutierrez
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Bastards (stylized as bastards) is the third remix album by Icelandic artist Björk, it was released on November 19, 2012. The album features remixes of tracks from seventh studio album, Biophilia (2011). All of the remixes were previously released on The Crystalline Series or the Biophilia Remix Series, and they were all remastered by Mandy Parnell.
Website: http://bjork.com/
MySpace: http://www.myspace.com/bjork
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Album Review:
By Sarah H. Grant on December 5th, 2012  /  Rating: 3,5
As it turns out, there is a scientific reason why we search on YouTube for baby animals, and of course, Björk’s already figured it out. The avant-pop singer’s 2011 album, Biophilia, takes its title from the biophilia hypothesis: the theory that there is an instinctive bond between all living systems. It accounts for some of our unexplained proclivities toward nature. When we see the wide eyes of young animals, it reminds us of our own, thus making us feel connected to a larger system.
Björk applied this idea of connectivity to her own Björk-centered system. Each song on Biophilia was released as an app, which could be downloaded and played, like any app, game, or, well, cute kitten video. The aim was to expand the way music is experienced beyond the old school way of hearing. Björk wanted to awaken the other senses – to see what the effect of music would be if processed via other cognitive pathways.
A year later, Björk explores the remixes as anti-songs, anti-life systems, and has titled the project bastards. Each track is a remix of a song from Biophilia, and the results the second time around are rich with earth-bound sounds and dangerous collaborations alongside some of the biggest bastards in music today (ahem, Death Grips). But, her career has been built on illuminating and combining disparate art forms – from the avant-garde classical style of Steve Reich and Stockhausen to electronic bands like Matmos. It befits the fringe-enthusiast, Björk, to weave all the unnatural and unpopular into her vast constellation, which she accomplishes on bastards.
No matter how hard Björk works to change the structure of her songs, her soprano is unmistakable under any musical guise. On Biophilia, the setting was generally the same. The sound remained laconic, even subdued, like the fast-forwarded unfurling of a flower bulb. But on the remixes, Björk plunges her pale visage into an array of landscapes, with unpredictable collaborators at every turn. The infamous L.A. rap-punk duo Death Grips transforms “Sacrifice” into a maelstrom of agitation and slapdash record-scratching.
“Crystalline” has become an overcrowded Indian marketplace. With the help of Omar Souleyman, it’s a relentless, rhythmic swirl of fast strings and missed faces, and towards the end, he injects his percussive flavor to “Thunderbolt”. Elsewhere, Björk operates in a nebulous skyscape as on the 16-bit-assisted “Hollow” or to rugged highlands of “Mutual Core”, featuring These New Puritans. The tribal deconstruction of Biophilia’s symphonic masterpiece sounds is bold, but refreshing. The remix includes a sample from a traditional composition titled “Funeral Song (Solomon Isands 1978)”, which was popularized by the David Fanshawe album, Spirit of Melanesia.
Later, Björk turns internal on “Virus”, prophesizing through jilted, soft tones: ”Like a virus needs a body / Someday I’ll find you.” It’s a bastard love song — illegitimacy beneath a microscope — and it would be easier to accept its contradictions if it were merely invented, but the subject at hand isn’t fiction. A virus is a real, living organism; it’s ancient, it lurks, and it pervades the body, causing fevers and, many times, death. It would seem that if any lesson can be gleaned from Björk’s bastard living system, it’s that the complicated tenets of nature, love, and music are the same features that draw us, complicatedly, closer.
Essential Tracks: “Virus (Hudson Mohawke Peaches and Guacamol Remix)”, “Crystalline (Omar Souleyman Remix)”
Fortaken: http://consequenceofsound.net
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Music and voice:
Compositions:
Björk's music style tends to be quite eclectic and often challenging. She has embraced many genres throughout her career, creating a varied range of pieces, from big band music to sound art. Björk's lyrical themes range from personal matters to scientific, natural, or social topics.
Voice:
Björk possesses a soprano vocal range Her vocal range covers three octaves, going from E3 to C7, but she tends to use her chest and mid voice more often, using her head voice particularly during vocal games in live concerts. Her singing style is largely based on improvisation and natural expression, letting her voice perform long vocal acrobatics while performing. Classical composer John Tavener has praised Björk as being "more intelligent than most opera singers", music critic Alex Ross has cited Björk as one of the most gifted voices nowadays. The National Public Radio counted Björk among its list of "50 Great Voices" and MTV included her on its countdown "22 Greatest Voices in Music".
Currently, Björk trains her voice with vocal coach Maureen Scott from the British Voice Association.
Solo discography:
Björk (1977)
Debut (1993)
Post (1995)
Homogenic (1997)
Selmasongs (2000) (soundtrack)
Vespertine (2001)
Medúlla (2004)
Drawing Restraint 9 (2005) (soundtrack)
Volta (2007)
Biophilia (2011)
bastards (2012)

Björk bastards (2012)

 

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