Eumir Deodato à propos du titre Hyperballad

I was in Japan and she called me from a studio in Bahamas", recalls Eumir. They met couple of days later in London and the results can be heard in tracks Hyper-Ballad, You’ve Been Flirting Again and Isobel.
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Björk : I attempted to make string arrangements, with a lot of help from Eumir. He’s been like a big daddy, letting me experiment with notes but still being there for me when I need him, and sometimes just completely doing it for me.
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"She has developed a style and a music that I’ve never heard anything like in my life," says Deodato, who is responsible for some of those string arrangements. "When I heard her material, I freaked out, and I said, ’What are you doing ? This is crazy, this is so difficult, to propose this kind of style to the people.’ But she does, and she’s successful at it. There’s the liberty she takes with melodies and with harmony that sometimes apparently leaves clashes that are not really clashes, they’re concepts. It’s an acoustic principle, but she instinctively goes into that vein, and she blends all these things with a beautiful voice."
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Bjork has many enthusiasms, and she pursues them, well, enthusiastically. She is standing slightly pigeon-toed in the engineer’s booth of Angel studios, in Islington, England, regarding the space in which she is shortly to record a new mix of "Isobel." The hem of her long black slip dress is taped up where it had ripped when she stepped on it in her enthusiasm. On the other side of the glass, Deodato is rehearsing a 16-piece string section, counting bars and looking very Dolce Vita. "He’s a legend, Eumir," she says. True, but it is typical of Bjork that she tracked him down because of his work on a little-known song called "Travessia," by Milton Nascimento.
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"You’ll listen to it and go, ’OK,’" Bjork says of Nascimento’s song. "Then after one year, it’s your best friend ; after two years, you can’t go a day without hearing it."