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Utopia - Articles et critiques presse

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C'est assez long, les passages ou on en apprend plus sur l'album:

 

 

 

I have heard it exactly once. Seventy-five minutes ago, in the room next door, I plugged earphones into a laptop and listened to Utopia all the way through. Straight afterwards, I walked into this room to talk to Björk about what I’d just heard. I can’t hear Utopia any other way because Björk’s last album, Vulnicura, was leaked online three months before its release date.

 

The result is exceptionally beautiful. Utopia is overwhelming, lush and gorgeous, with harps and flutes and real-life bird calls, a magic forest of constantly changing sound. There’s an ebb and flow dynamic, like the turning of swallows in the sky. Sometimes Björk’s voice is at the fore, sometimes it’s woven in, just another instrument. This is not really an album of pop songs, although you might find one or two, at a push; it’s more orchestral and detailed, all-enveloping.

 

I don’t know that I got all this from one listen, though the sense of wildlife, physical space and bliss was very strong. My notes say things like “epic, full of nature”, “rattle (monkey sounds)”, “flutes gorgeous, beats tough, transcendent”. I did get the idea of a new place, of women supporting women, of rejecting old systems (in Tabula Rasa, she sings: “break the chains of the ****-ups of our fathers”). There’s also – excitingly – strong hints of a new lover (Blissing Me: “I fall in love with his song”). And the feeling of the end of a difficult relationship, of moving forward (Sue Me).

 

She thinks of Utopia as having three parts. The discovery of the island, the living there day to day, and then, more prosaically, how humans survive difficult times. One of the songs, Body Memory, is about how your body can get you through trauma when your head and heart can’t. It was sparked by another day she spent at her cabin, this time by herself. She wrapped herself in loads of coats, lay down on the moss, and listened to an audiobook of The Tibetan Book of the Dead. She’d been aware of the book for a long time but had dismissed it as “a bit goth”. This time, though, she found it stimulating, especially the final part. “It’s about having people who are experts in dying,” she says, “who have physical practice to help you to die. Like yoga exercises. Breathing exercises… Like death doulas. I was so impressed by this.”

 

And so she wrote Body Memory to remind herself that she is able to move through grief, get past Vulnicura and survive. She wrote six verses, to herself, about “destiny, love, another about sex, another about motherhood, one verse – and this has been a struggle for me – is urban, another rural nature”. The verses are reminding her not to think too much, “not be neurotic, just do this”.

Edited by HöShI
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Et on continue:

 

https://instagram.com/p/BbcCfpal8yG/

https://instagram.com/p/BbcB9pODKy5/

 

Photo déjà connue en une a voir dedans:

 

ralphmooremediaI'm not going to say I was honoured, humbled or blessed. What I am going to say is that I spent an hour in Reykjavik with @bjork last month and you can read the results of that wide-ranging talk in @mixmag this very Thursday. And she also made us a mix! Special thanks to Anna Meacham and the @purplepr team this month for making it happen. #mixmag #bjork #ralphmooremedia

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La couv australienne d'avant hier:

 

 

La photo est quelque part mais je ne la trouve pas :(

 

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La photo est quelque part mais je ne la trouve pas :(

l'instagram de Santiago Felipe tout simplement :)

 

 

l'encodage est moche cependant

 

 

23421970_1373475789441460_34960488414492

 

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Oui j'ai vu apres, bon... c'est frustrant.

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Pas que Body Memory d'ailleurs:

 

Citation

There was a certain period where I was saying to my friends, “Maybe this is a tryptic.” There were definitely three stages [of writing]. There’s the utopian, futuristic, sexy part where we’re heading off to this island where everybody’s naked and there’s no violence, like a sci-fi novel. We were reading these black lesbian sci-fi books and really going off into that direction. The second part is more real and human. And then in the third section, songs like “Body Memory” and “Loss” are more of a continuation of previous albums. 

“Loss” is very much a continuation of “Pagan Poetry,” a certain sort of girl goth music

 

Edited by HoShI
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L'interview du NYT est pas mal non plus (elle est déjà sur björk.fr): https://mobile.nytimes.com/2017/11/14/arts/music/bjork-utopia-interview.html?referer=http://www.bjork.fr/The-New-York-Times-Utopia-2017

Les trucs a retenir:

Citation


Utopia has gone from everything being monasteries, to feminist islands, to socialism, to Peach Blossom Spring" she said, referring to a tale of an isolated, idyllic community that was written in the fifth century in China.

Björk Digital, a traveling exhibition of her virtual-reality videos, which she will expand with songs from “Utopia.”

The album concludes with “Future Forever,” with shimmering chords and Björk’s voice floating above silences; she invokes a benign matriarchy. “Imagine a future and be in it/feel this incredible nurture, soak it in,” she sings, then turns to tech advice. “Your past is a loop — turn it off.”  

[avec Arca]
“We were sending each other a thousand ideas — it was like playing games with someone,” Björk said. “It’s so interesting to communicate on so many levels. I was telling him, when I was being a music nerd at the beginning of this album: ‘If we are going to merge as two musicians, let’s go out of the grid. Let’s try to not do the normal song structure thing, but meet in a very instrumental way. Let’s have freedom.’”

To record the music she had composed on her computer, Björk gathered an ensemble of a dozen flutists, all women, for “Flute Fridays” in Reykjavik. “I tried to get as many colors out of the flutes as possible,” she said. “I miked them differently. Sometimes I had 12 flutes, sometimes six. There was alto flute, bass flute, tenor flute. They’re treated a lot, with a lot of effects, or they’re really clean, with nothing on them.

“We went between the churches in Reykjavik, trying to get the right sound,” she added. “Plus, I recorded a lot of the flutes in my cabin by the lake — trying to create this world where you have people hanging out in your living room, playing flutes and singing and making beats, but it’s part of real life.”

Her new songs also take up the more immediate pleasures of music and burgeoning romance. In “Blissing Me,” she sings about “two music nerds obsessing,” falling in love by “sending each other MP3s.” In “Courtship,” she looks into software-assisted dating. “He turned me down/I then downturned another/who then downturned her,” she sings, over chords built from flutes, and bursts of sputtering percussion hinting distantly at techno.


'Vulnicura’ was the end of a chapter, and this is the beginning of a new chapter,” she said.

 

Donc Björk Digital devrait continuer ! L'espoir renait pour que l'expo finisse par montrer son bout du nez à Paris. :)

Ils citent bien "Loss" avec deux "s"... peut être que le titre s'appelait "Loss" et qu'elle la modifié en "Losss" dernièrement.

 

 

Et surtout par rapport LVT:

 

Citation

Stories had circulated at the time of filming that Björk was “difficult” on the set. But she said: “I was very conscientious. I showed up for every shoot on time,” until there was a dispute over control of her music.


"When I talked about this project with Lars, he always promised me I had full control of my music,” she said. “But I was turning up at dance rehearsals, and somebody else had been editing my music in a way that was totally musically wrong. And they would keep telling me, ‘Oh, it belongs to us now, it’s not yours.’
“After two months of just turning up for every single thing, and really just accepting all the harassment and just becoming part of the whole — just keeping on doing what I was told, basically — I had one weekend where I stood up. I could stand up as a musician and say, ‘I’m not returning back to work on Monday unless I get full control of my music.’ And that took one day. On Monday night, they said yes, and then on Tuesday, I returned to work.”

Attempts to reach Mr. von Trier for comment for this article received no response.

 

Oulalala :S 

Edited by HoShI

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Un mag allemand avec de nouveaux bouts de paroles:

 

Features Creatures:

"These statistics of my mind shuffling your features/ Assembling a man/ Google love" je crois qu'on a pas fini avec les references informatique "mp3" &co ^^

 

Tabula Rasa:

"Break the chain of the fuck-ups of the fathers/For us women to rise and not just take it lying down."

 

Si quelqu'un peut faire la trad ca serait sympa (on a des profs d'allemands non ?) 

>>> apparement: 

 
Citation

 

sue me is one of the best tracks of the album and reminds the reviewer of hyperballad  :dizzy:  8)

in body memory she sings about her sexual dna and at the end of the song you can hear a choir and archaic recorders that elevate to a transcendental orgasm (= unison?)

 

le reste: 

http://abload.de/image.php?img=article_022jr86.jpg

http://abload.de/image.php?img=article_04bbosn.jpg

http://abload.de/image.php?img=article_022jr86.jpg

 

albumreview_02w1r10.jpg

 

ad4wqlq.jpg

Edited by HöShI
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Je ne sais pas si ça a déjà été posté mais il y a une « critique » d’Utopia dans la Tribune de Genève. Il y a une description (sommaire et imagée) de quelques titres dont Saint ou Utopia (dont on n’avait pas encore beaucoup entendu parlé je crois). 

 

Je suis sur iphone et n’arrive pas à copier le lien sorry! 

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il y a 7 minutes, HöShI a dit :

 

il y a 6 minutes, kekeland a dit :

Je ne sais pas si ça a déjà été posté mais il y a une « critique » d’Utopia dans la Tribune de Genève. Il y a une description (sommaire et imagée) de quelques titres dont Saint ou Utopia (dont on n’avait pas encore beaucoup entendu parlé je crois). 

 

Je suis sur iphone et n’arrive pas à copier le lien sorry! 

Ça y est le lien est accessible dans un autre t

Edited by terence

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Oui elle est dans "ou trouver les magazines" : 

 

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