Björk in DAZED: Paradise Found

Björk's ninth studio album - more info soon

Re: Björk in DAZED: Paradise Found

Postby Animal » Thu, Aug, 03, 2017 3:09 am

the gate, loss, allow oh wow...

:naughty:
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Re: Björk in DAZED: Paradise Found

Postby ekkert » Thu, Aug, 03, 2017 3:11 am

features creatures hello! :mrgreen:
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Re: Björk in DAZED: Paradise Found

Postby Magnetar » Thu, Aug, 03, 2017 3:18 am

Thanks so much Ekkert!
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Re: Björk in DAZED: Paradise Found

Postby Kriss85 » Thu, Aug, 03, 2017 3:36 am

Sorry no scanner
Here's a low quality teaser
Image Image Image Image Image Image Image Image Image Image Image Image
wielkie dzieki !!! :D
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Re: Björk in DAZED: Paradise Found

Postby martin » Thu, Aug, 03, 2017 4:10 am

some keywords from the article:
feels lighter than air
flutes and woodwind instruments
sound of birdsong and the natural world
buoyant sound
overall feeling of weightlessness, an unwavering up-ness
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Re: Björk in DAZED: Paradise Found

Postby Magnetar » Thu, Aug, 03, 2017 4:22 am

Surprised by the flutes and woodwind instruments to be honest. Really didn't expect that. Like I never expected a song called Sunflower Seeds. It brings me right back to Debut and MTV Unplugged, but it's almost 15 years later. She will use them in a very different now way I'm sure, specially if they fully replace string arrangements. I guess music-wise the arrangements of those instruments (with some others probably) will represent the beauty and Arca, Rabit and Haxan Cloak's(?) beats will be the brutal part.

And if the video for The Gate is ready, I think we got our first single! The gate to Utopia. What better first choice to start with?
Last edited by Magnetar on Thu, Aug, 03, 2017 4:45 am, edited 1 time in total.
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Re: Björk in DAZED: Paradise Found

Postby m.thr.n » Thu, Aug, 03, 2017 4:29 am

I want a bass clarinet on the record.
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Re: Björk in DAZED: Paradise Found

Postby gerrymob » Thu, Aug, 03, 2017 4:41 am

Ordered online - more good news
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Re: Björk in DAZED: Paradise Found

Postby Burnface » Thu, Aug, 03, 2017 4:58 am

I wonder what kind of flutes she's gone for. In the past her flutey stuff wasn't particularly light/happy (Glóra, Međ mann á bakinu (sp?)... Even Jóhannes Kjarval!), I'm very curious how she approached them this time around!

Also Features Creatures is one of her worst track titles. Sounds like Jeepers Creepers.

:lol:
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Re: Björk in DAZED: Paradise Found

Postby arborescent » Thu, Aug, 03, 2017 5:05 am

Sorry no scanner
Here's a low quality teaser
thank you very mush :hyper:
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Re: Björk in DAZED: Paradise Found

Postby mrain » Thu, Aug, 03, 2017 5:06 am

[LOUDLY CRYING FACE]
My friend replied back to me.... "Sure! He should try the WH Smith store on Rivoli st. near Concorde."

Sent from my SM-G950U using Tapatalk
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Re: Björk in DAZED: Paradise Found

Postby ultramarine » Thu, Aug, 03, 2017 5:30 am

damn, so we really were not wrong to expect/wish for woodwinds!

bassoons please!!
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Re: Björk in DAZED: Paradise Found

Postby Magnetar » Thu, Aug, 03, 2017 5:39 am

lol it has been answered... but dang that is pretty interesting..... all the subtlety of things even flowers that bjork shows means something.... :love: :love:
Here's another one. The tour visual of the new arrangement of Come To Me has birds of paradise in it. Paradise, as in Utopia. :naughty:




The new arranagement and visual make it feel like it's directed at another person now, then back in 1993 on Debut. Maybe Robin? Perhaps a more transcendent love as she mentioned in the Dazed interview? The human race to nature? Specially if the new album deals with love as well? And the song title itself and the theme of the next album match with the birds behaviour, dancing, being colorful, trying to impress, saying: come to me! I'll take care of you. Or something. LOL

Also, with the new album arriving soon it now doesn't just feel like one of 'older re-arranged songs' to me (eventhough I think it was the one that stood out most for everyone), but more like a transitional song on this tour, you know, as one of the non-Vulnicura songs, looking back on it. There's something there that was already linked to the new album. Know what I mean?

:shifty:
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Re: Björk in DAZED: Paradise Found

Postby mikeofcetacea » Thu, Aug, 03, 2017 5:42 am

I am just so incredibly excited to hear that B is making an album centered on love. I was raised by a mother who instilled in me that love is the most important aspect of life and to cherish it, in every way. when i first listened to Björk's music, I heard and felt that concept vibrating within it. can't wait to hear her ruminate on the subject in this new one <3
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Re: Björk in DAZED: Paradise Found

Postby perUmbram » Thu, Aug, 03, 2017 5:57 am

yaaaaaasss woodwinds are exactly what i'd been hoping for for years <3 . I dearly hope she'll include bassoons .

also the mention of 'batabid' and 'ambergris march' strikes me as a possibly very interesting direction. as for the themes, i'm just curious how she has developed them. and birdsong. will this be her 'aerial'? ;-)
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Re: Björk in DAZED: Paradise Found

Postby mateos » Thu, Aug, 03, 2017 6:12 am

Thank you!

flutes, birds - seems like the flute sounds at the beginning of Stonemilker live were the first sign of the new paradise era.
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Re: Björk in DAZED: Paradise Found

Postby Magnetar » Thu, Aug, 03, 2017 6:20 am

About: David Toop – Hekura, Yanomami Shamanism, Songs, Ritual, 1978 / Lost Shadows In Defence Of The Soul, 2015
Both human and intimate, it's difficult to know how to listen to this much expanded reissue of David Toop's recordings of the Yanomami villagers who reside in the Amazon rainforest. Originally released in 1980 as Hekura - Yanomamo Shamanism From Southern Venezuela on his own Quartz Publications (thanks to funding from Robert Wyatt and Evan Parker) it included just two excerpts: ‘Dayari-Teri - Group Healing’ documents six shamans drawing out malevolent entities from their community and ‘Torokoiwa - Solo Shaman’ who agreed to chant specifically for Toop's recorder. As well as providing more of each recording session this reissue also includes additional events and encounters, such as songs performed to succeed in hunting or to bring on rainfall.

But the difficulty in consuming this exotic artefact, albeit a welcome one, is whether to approach it as documentary, sound object or signifier. As a documentary it is hard not to notice the casual chatter that goes on in the background, often including children, as the shamans dramatically chant, cough and spit a series of guttural and anguished, loose rhythmic phrases. The contrast between the fierce shouts and growls of the performer and the seemingly inattentive audience confounds expectations, bringing it closer to an A&E waiting room than a reverent church service. As sound objects, certainly an unintended output, the recordings are captivating, especially over a long period of time as ones ears adjust to a wide family of terrific vocal textures and combinations. But one can't help feeling there is also a sign in here somewhere - the zest, determination and confidence heard in the chants perhaps forming a persuasive invitation to discard long-held inferences of Western logic and embrace a more animistic attitude.

As if to emphasise this, Toop concludes each remarkable disc with the non-human night time sounds of insects, birds and moths; the insects' dense canopy of chirruping, punctuated by birds' whistles and whoops and the occasional thrum of fluttering moths casts its own spell. Lost Shadows... is an insightful document, a sensual sojourn and a signpost into areas beyond our understanding.

http://thequietus.com/articles/18165-ru ... l-cuzner-2
This can be a bit difficult to listen to, primarily because it's not really meant to be listened to. Side A, in particular, is a healing ritual. It's not for entertainment, it's for the dispelling of evil spirits and the reestablishment of a healthy, balanced state for people who are suffering. Given that context, it's completely appropriate that so much of this is rather disturbing, screams, roars, and creepily deep voiced chants emerge seemingly at random, presumably with the intention of scaring away supernatural listeners, is it any wonder that more mundane listeners playing the record might be a bit frightened too? It's that context that really makes this worthwhile, It's the chance to hear and experience something that's not entirely worldly, something that we're not supposed to be comfortable with. It's the establishment of a connection to something beyond the mundane world we're used to. It's the value of both religious ritual and music within a ritual context, to take us out of ourselves and make us question the reality we're accustomed to.

http://rateyourmusic.com/release/album/ ... venezuela/
There were recordings of Venezualian birds as early as the 1960s (the 3 volumes of US bird recordist pioneer Paul Schwartz’ Bird Songs from the Tropics, published by Instituto Neotropical, Caracas) ; there was French birder Jean C Roché’s legendary Birds of Venezuela LP (published by L'Oiseau Musicien, 1973) ; there were recordings of Venezuelan Yekuana Indians music (Folkways, 1975). But an entire LP worth of Yanomami shamanism specifically was totally unique circa 1980(*). This was Hekura - Yanomamo Shamanism From Southern Venezuela, an LP published by David Toop’s own Quartz label, and now reissued by Sub Rosa under the title “Lost Shadows: In Defence of the Soul – Yanomami Shamanism, Songs, Ritual, 1978.”

The original LP consisted of two side-long ceremonies (Dayari-Teri - Group Healing and Torokoiwa - Solo Shaman) but Lost Shadows is sequenced in shorter tracks, perhaps inspired by the track by track digital archive now at the British Library Sound Archive (ref. C1162), after Toop deposited his original cassette recordings back in 2005. Another difference with the original LP is the accompanying booklet with a new 40-page essay by David Toop and original photos from the expedition. The text is actually an expanded version of Chapter 11 of Ocean of Sound (Altered States VI - Nature, pp230sq), published 1995 – though this is not mentioned anywhere. As in the book, the write up loosely follows the expedition diary kept by Toop at the time (30 October–9 December 1978), with added digressions, various considerations and Henri Michaux poetry as subtitles – like in Jim Jarmush’s 1995 film Dead Man: “It’s preferable not to travel with a dead man.” Perhaps Toop saw a link between Michaux, mescalin and ebena, the hallucinogenic drug used by Yanomami shamans.

THE EXPEDITION

This expedition to Southern Venezuela was largely a teamwork. The original impetus might have come from Venezuelian expat Nestor Figueras, whom Toop designates as the “organizer” of the trip. Figueras was an associate of the London Musicians Collective along Toop and Paul Burwell – the trio recorded the Cholagogues LP on Bead in 1977. Also part of the team who flew to Caracas on 30 October 1978 was photographer Odile Laperche. After 2 weeks sailing up the Orinoco river with their Venezuelian guide Simon Garcia, they met Spanish ethnobotanist and former Jacques Lizot assistant Emilio Fuentes in Mavaca on 14 November. In fact, the expedition was generally walking in the footsteps of two anthropologists from the 1970s, namely Napoleon Chagnon in the Ocamo area and Jacques Lizot in Mavaca near Tayari-Teri. Both men are now shrouded in controversy after allegations of ethnocide and pedophilia, respectively – anthropologists are rather serious about their disputes, apparently.

This was for the context. Now, about the record – note I wasn’t familiar with the original Quartz LP before and my comments are based on the Sub Rosa LP version, not the 2xCD set. The Lost Shadows vinyl alternates between short recordings of healing ceremonies led by one shaman, rain songs, vocal duets, collective chanting and night insects. As a consequence, the disc is varied and never boring, thanks also to Dave Hunt and Lawrence English‘s superb mastering insuring that, despite Toop’s modest technical equipment at the time – a Sony TC 158 SD cassette recorder–, the recordings are lively and close to the action. The listener is immediately involved as a witness. Some of the songs are cued together without pause, thus enhancing the immersive experience offered by this LP.

THE VOICE OF THE SHAMAN

Performing under the influence of the ebena drug, the Yanomami shaman conducts a propitiatory ceremony during which birds, animals and spirits of the forest speak through his voice, hence the various animal imitations in the recordings, especially from the shaman called Torokoiwa. In isolated dwellings without a doctor, the shaman uses the healing power of trance to cure fellow villagers from diseases, yet his role also extends to rain making songs, of which a couple of examples are included on the LP.

Toop principally recorded 2 shamans: Piaruainai in Cuntinamo (19 Nov.) and Torokoiwa in Mavaca (24 Nov.) – the latter was recommended by Jacques Lizot. Apart from that, he also recorded a bamboo/clarinet duo in Cuntinamo (17 Nov.), a collective, all-male shamanising session in Ocamo (24 Nov.), young men and women choirs in Wabutawi-Teri (25 Nov.). Regrettably, Toop didn’t record a ceremony of endocannibalism he attended, also in Wabutawi-Teri (26 Nov.), during which ashes of a deceased were eaten by relatives, a specific Yanomami tradition.

As a solo performer, Torokoiwa steals the show here, what with his authoritative way of channeling animal spirit (hekura). His technique includes possessed singing, vocal interjections, repetition of phonemes, monotone chanting, with occasional spitting and vomiting as an integral part of spirit channeling. Torokoiwa’s style is closer to the sound poetry of Antonin Artaud or Henri Chopin than the niceties of the Yekuana instrumental music on the aforementioned 1975 Folkways LP – the Yekuana are Yanomami neighbors. The rain songs are purposeful but less inspired, less possessed than the healing ceremonies. The vocal duet titled Wayamou (25 Nov.) is playful and alert, the 2 men alternating call and response interjections, sometimes overlapping with their partner in a hurry. The youth chorales are lovely and uncanny, especially the young women choir closing the record. The night insects provide a calm, almost soothing counterpoint. Most selections feature Neotropical rainforest birds in the background.

35 years later, the tracks collected on Lost Shadows are still unique and gripping aural documents from a tiny population of forest dwellings fiercely maintaining their traditions despite their repeated and often harmful contacts with the white men, be they Jesuit missionaries, anthropologists, highway workers, gold diggers or tourists. An aural artifact resulting from a reckless expedition in the Amazonian jungle in the late 1970s, these recordings are as essential in this 2015 incarnation as they were in their original release form back in 1980.

http://continuo-docs.tumblr.com/post/12 ... f-the-soul
I'm very curious how much of the highlighted things mentioned in these reviews we will find back on her new album.

:naughty:
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Re: Björk in DAZED: Paradise Found

Postby Raw_Kiss » Thu, Aug, 03, 2017 6:38 am

I'm so excited for this album! B's albums always seem to find me at the right times in my life. every one of her albums marks certain points in my life that oddly parallel each other. vulnicura came about as my last relationship struggled and eventually ended. this last year has been a rough ride, but i'm ready for paradise. my heart is ready(i think). <3
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Re: Björk in DAZED: Paradise Found

Postby Magnetar » Thu, Aug, 03, 2017 6:46 am

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Re: Björk in DAZED: Paradise Found

Postby LegeCre » Thu, Aug, 03, 2017 7:32 am

some keywords from the article:
feels lighter than air
flutes and woodwind instruments
sound of birdsong and the natural world
buoyant sound
overall feeling of weightlessness, an unwavering up-ness
Björk goes full into new age
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