“Ancestress” discusses the generational movements between mothers and their children. She continues to explore lineage and its ability to simultaneously interact with the past and present in “Ancestress,” a final goodbye reconciling the impacts of both the life and death of her mother. She sings on “Sorrowful Soil,” “Woven with a mother’s life force / Emotional textile.” To Björk, motherhood is an intricate expanse of love, a web which binds us all together through long moving lines of lineage. Much of the album was an ode to both her children and late mother. “Sorrowful Soil” also points towards the album’s main theme of motherhood. The songs depict artistry and motherhood as complex webs of meaning, integrated into life through channels so deep their removal would prove lethal.
In these songs, lyric and instrumentation are completely one, reflexively moving and contorting, undivorcable from the other. Songs like “Mycelia” and the following “Sorrowful Soil” push choral instrumentation to their ideals, highlighting Björk’s genre-pushing creativity and deeply expert musicianship. The chords are dynamic yet digestible, and an entire sonic scape is created solely with the voice. “Mycelia” glitters with some of the best arrangements in her career. Two tracks later, she introduces the next sound idea: large webs of voices all chopped and spliced into various chords and rhythms. “Atopos” is an anthem for subterranean rave, a literally “dirty” club, and consequently it introduces much of the major sonic and lyrical themes to be seen in the rest of the album.
MORE BARNEY SONGS FULL
The song is full of vibration and power, an ode to love as something that digs deep and grows into the earth. The song’s mantra chants, “Hope is a muscle that allows us to connect” whilst various chords and a deep unignorable pulse create a pseudo-dance sound.
Fossora is her attempt at reasoning through ancestry and motherhood, equipped only with a myriad of woodwinds and her reliable innovation and quirk.įossora lays its roots with the lead single and opening track: “Atopos.” “Atopos,” which pulls reference from land slugs and a Greek word meaning “unusual,” is an amalgam of slamming bass beats and clarinets contorting in unison. Now five years later, after her longest hiatus yet, Björk has returned to bring the joys of Utopia back down to the real world through fungal ponderings on the un-pin-downable emotions tied up within lineage. Utopia is up in the clouds, positive, untouchable joy, so where could she go from here? Then in 2017, she released Utopia, a wildly positive airy piece of work, which twists Vulnicura’s logic on its head, now creating an untouchable fantasy world where Björk can exist without the burdens of man and his rigidness.
Where Biophilia deals with the global tragedy of climate change, Vulnicura narrows the scope into the personal tragedy of heartbreak. The string-filled and emotionally introspective Vulnicura (2015) serves as an answer to Biophilia (2011)’s intense rhythms and world scope, with Vulnicura being a think-piece on the nature of wounds and the human ability to latch onto heartbreak. Each of her albums can be read as a reaction to the prior. In this great pit of emptiness, there is only rewatching old music videos and a £500 birdcall set, so for solace you must rely on the never-tarnishing allure of her older works. Five years of relative silence, two remix songs with Fever Ray, several Orkestral tour dates scattered across Europe, and a whole lot of waiting. The past years have been a Björk fan’s nightmare.
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