Filter-mag.com

Army of She : Planting Flags with Bjork

There comes a time in every girl’s life when she’s got to reach for the trigger and take aim at the motherfuckers who seem forever intent on poisoning the sugar and spice of life. Not that Björk has ever spent a tenth of a millisecond playing by their dastardly rules, but perhaps she’s finally exhausted the certainly noble but possibly futile « all is full of love » approach and is, rather, intent on rolling a few heads. And after all, this is the girl that once emphatically reminded us in song that she’s, « no fucking Buddhist ». True Björkies, of course, knew that all along.

On her new album, Volta, some heads do, in fact, roll. And like all of history’s great cries for justice (think, in modern terms, of Sinéad gloriously savaging the Pope on network TV), it is not a coy, introverted affair. The groovy, futuristic pop goddess we all fell in love with when Debut was released in 1993 has arisen once again. These are the most immediate tunes she’s done in years. Björk, it seems, would have us dance our way over the barricades, rather than sit around griping that they might be too difficult to scale. Here she speaks with Filter about her place in the battlefields of music, politics and people.

There were some rather violent reactions to your last two albums, the challenging and fascinating Medúlla and Drawing Restraint 9. How was the making of Volta, a much more accessible record, a continuum or a reaction by you to those records ?

Medúlla and Drawing Restraint 9 were very important albums for me to make. I don’t think I could have done Volta without having gone to these other places first. People overrate extrovert music, and introvert music is underrated. Personally I probably listen more to introvert music than extrovert. But I have been lucky, I’m not complaining. A lot of people’s favorite albums of mine are Vespertine and Medúlla. So, I guess I’m just going to continue on my little path. Some people will get it and some won’t.

A collision of nature and machines seems to be an ongoing idea, maybe even struggle, in your work. How does that play out on Volta ?

The struggle is still there for sure but it is more seamless and complex. Some of the most natural sounding noises on this album are actually done with computers and then you have trumpets imitating Morse codes.

Is there struggle or harmony between your modernist and ancient impulses ?

Overall I’m always quite interested to unite—to create a whole. Some cheap psychology might explain it, being a child of divorced parents ; but I have always felt that by uniting techno and acoustic, the modern and the roots, man and woman, the symphonic and the rhythmic, sound and vision, words and music… I can go on forever, but I seem to be quite driven by uniting these things and feel that only then a flow will happen.

You use an Icelandic female brass section on Volta. Yet on Wanderlust, you sing, « I have lost my origin ». Was employing musicians from your homeland a way of trying to reconnect with the sort of primal essence that Iceland has instilled you with ? Or am I overanalyzing it ?

Could be. My anchor this time around was pretty global ; I’m tired of nationalism. But it is great to have them around. Perhaps they support also the « female power » aspect of the album.

At one point, Antony told me that he wished that people would stop seeing him as odd or eccentric, and realize that he is just writing simple, heartfelt songs. Have you ever felt you were overly classified as being peculiar or idiosyncratic ?

Yes. I feel I’m a pretty healthy, normal human being. I haven’t been oppressed by religion or sexism and so on. But people are scared of anyone different, so they point at me.

Was there a statement in your working with African musicians, at a time when the West seems to be badly fumbling our responsibility to that continent ?

Yes, not so conscious though. I asked both Konono N°1 and Toumani Diabaté [to play] because of their brilliant musicianship and it was a coincidence they where both from Africa.

Yours have always seemed to be the politics of the human spirit—that the world can be changed by not being afraid to be an individual. But Declare Independence seems to be railing with a bit more of a punk sense of defiance. Can you describe your emotional zeitgeist ?

Maybe I felt that up to here things would be okay and the « good » would win in the end if only it persists. But things are not looking so good right now. It is time to go up on a mountain with a flag and a trumpet and insist on justice.

You told me before that you would probably die without your music. How would you describe this chapter, Volta, in terms of carrying on the Björk life force ?

Hmm. It is always funny when you see old comments of yours taken out of their original context—they seem so extreme. But in a way it is still true. Making music is a way of survival for me. Otherwise I would probably implode. But the Volta chapter is very much about justice. Justice for women, the female spirit, nature and people in need in general. Perhaps having a little girl influenced me in a way that I felt I needed to update, to educate myself on the state of things and how I was going to explain it to her.

- Poster un commentaire sur le forum

Ken Scrudato

publié dans Filter-mag.com - 24.04.2007

En lien avec...

 
 

Articles de la même année

 

2007

date
publication
titre
22.03.2007
Blender.com
27.03.2007
Les Inrockuptibles n°591
05.04.2007
XFM
17.04.2007
BrooklinVegan
18.04.2007
Rolling Stone FR
20.04.2007
Vibrations
21.04.2007
style.com
22.04.2007
The Observer
23.04.2007
lesinrocks.com
24.04.2007
Filter-mag.com
24.04.2007
drownedinsound.com
26.04.2007
Stylus.com
27.04.2007
The Guardian
27.04.2007
Music for robots
29.04.2007
NY Times
30.04.2007
Les Inrockuptibles n°591
30.04.2007
This is London.co.uk
30.04.2007
Metro uk
30.04.2007
Time off
01.05.2007
L’officiel
02.05.2007
TimeOut New York
04.05.2007
The Washington Post
04.05.2007
Hot Press
05.05.2007
The Telegraph
06.05.2007
New York Post
07.05.2007
Billboard
07.05.2007
AllMusic
07.05.2007
People Magazine
08.05.2007
Pitchfork
08.05.2007
Me-me-me.tv
08.05.2007
metromix.com
09.05.2007
BBC
10.05.2007
Le Figaro
11.05.2007
Les Inrocks2
12.05.2007
Sidney Morning Herald
14.05.2007
Magazine ELLE n°3202
25.05.2007
liberation.fr
31.05.2007
Bokson.net
01.06.2007
Keyboards Recording
07.06.2007
Spin Magazine
13.06.2007
Dummy Magazine
21.06.2007
telegraph.co.uk
01.07.2007
NightLife n°34
01.07.2007
remixmag.com
01.08.2007
Interview Magazine
13.08.2007
Fashion Rocks Magazine
23.08.2007
The List
01.09.2007
Mixte Magazine
04.09.2007
Q Magazine
09.09.2007
guardian.co.uk
10.09.2007
apple.com
17.09.2007
La presse (Quebec)
20.09.2007
Montreal Gazette
01.10.2007
Dazed & Confused n°54
01.11.2007
Harp Magazine