Who would have known, that a boy like him
would have entered me lightly restoring my blisses

Who would have known, that a boy like him
after sharing my core would stay going nowhere

Who would have known, a beauty this immense
who would have known, a saintly trance
who would have known, miraculous breath
to inhale a beard loaded with courage

Who would have known, that a boy like him
possessed of magical sensitivity
would approach a girl like me
who carresses
his head in a bosom

He slides inside
half awake / half asleep
we faint back
into sleephood
when i wake up
the second time in his arms, gorgeousness !
he’s still inside me !

who would have known

A train of pearls
cabin by cabin
is shot precisely across an ocean
from a mouth



From a mouth of a girl like me

To a boy
To a boy
To a boy

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Mars 2002

3e single de Vespertine

Björk à propos du titre

I had to go to Denmark for a year. There was nothing going on. I was literally lying on the beach, looking at the ocean, with a ghetto blaster listening to Thomas Knak/Opiate’s album. I realised he was from Copenhagen. I just called him up.

Record Collector, August 2002

The lyric to ’Cocoon’ was a whole diary, then I had to edit 90 per cent of it out. It’s very hard to explain, but when I read it and the other person it’s about reads it, we don’t feel abused or anything. I think there’s songs where I’ve been more... scruffy about what I’m expressing. I have a problem with music that’s too indulgent. It’s like ; "Keep your own dirty laundry, please."

New Musical Express 11 Aout 2001

the beat of "Cocoon" sounds almost like a needle scratching on a vinyl record.
How did you get that effect ?

Yeah, in that particular song the beat was done by Thomas Knak. He’s Danish, and he actually did click noises from the synth. What is actually quite interesting is that I have one sample on this record — and it’s on "Unison" — and it’s from this band called Oval, who have been one of my favorite bands for a few years, and they actually DJ. [Leader] Markus Popp would actually take CDs and scratch them, and put them on the turntable machine ; then he would play off of that.
And the good thing about that is, it’s sort of conquering the fact that most people think that technology is cold because it has no mystery, and it’s very calculated, and blah, blah, blah. So when you take technology and use the areas where it breaks, where it’s faulty, you’re entering a mystery zone where you can’t control it. It’s reacting more like an animal or a person to you, and you have to react with it. It’s not like you tell it what to do and then it does it, like a controlled, cold thing. But you take a knife, scratch a CD, put it on, and it will skip. You don’t know what’s going to happen.
I guess the same thing happens with guitarists. I mean, 34 years ago Jimi Hendrix or Pete Townshend would make everything distort. These guitar amps were not made for that. But they went into the area that the people who made the amp didn’t want them to go because it would go out of control, and it would be wild again like nature, you know, and raw. I think you can find rawness and nature in anything if you just want to.

CDnow, aout 2001


Programmation : Björk, Thomas Knak

Photo : captures du clip réalisé par Eiko Ishioka
Design : Rafael Esquer et Tim Wilder


Cocoon (Radio Edit) 3:34 Radio
Cocoon (retangled by Ensemble) 5:04 Ensemble




  • Thomas Knak - Opiate