quoted 9 lines I have yet to hear the new Bjork, but it's too bad that there are a
>I have yet to hear the new Bjork, but it's too bad that there are a
>lot of people out there who think she's done some amazingly new and
>original thing.
>
>Kracfive records was doing the same thing three years ago. Check out
>Original Instrument:
>
>http://www.kracfive.com/content/index.php?release=kfat009cd.htm
>
this is the same sort of thing i hear about radiohead's 'kid a'. the
point is that it may not be new, but it's going to be new to their
fans. it's going to open up the heads of a lot of people. plus, her
doing it exposes vocalists like tagaq, shlomo, rahzel, and the
others, to an audience that would never have heard of them (except
maybe mike patton, but lots of people probably don't know about his
experimental vocal work).
in the 'medulla' documentary, bjork *knows* she's not doing something
totally new. she says she left the rhythms unfinished until last,
because she didn't want to do the "obvious" thing of having a
beatboxer come in and put rhythm parts on it. to her this is all old
news.
to answer the other comment about how the vocals were done, it seems
(again from the documentary) that most of them were complete live
performances with minimal processing, not sampled/programmed.
because of this, 'medulla' is a lot more "human"-sounding than the
clips i've heard of the kracfive album. the live presence of the
other singers (including the icelandic women's choir) turns this into
a different project than something that just treats vocals as source
material to be chopped up and treated. she also writes songs and
melodies as opposed to rhythmic workouts (not that there's anything
wrong with the latter).
she may always be using different people (in fact 'vespertine' had 4
different artist/producers), but the end result is remarkably similar
almost no matter who she works with.
d.
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