A portion of an interview with Björk, translated and posted to the BEP mailing list by Miguel Anjo (with some fixes to the translation by me)
Taken from the Portuguese journal Publico, July 18th, 1997
(Article by Luis Maio)
Bjork presents "Homogenic"
The Women In Fire
"Homogenic" is the best of the four Bjork albums post-Sugarcubes. And will be, surely, one of the best albums in '97. The bad is it will only be released in September. To open the appetite, in the beginning of this week the icelander singer give a press conference and a presentation concert in London. Where join the genius with the fun, in a perfect "homogenic" unity.
The presentation of "Homogenic" was last monday, in Old Truman Building, an old beer factory in London.
The icelander singer makes progress in the domain of the english language, but her accent makes some passages inunderstandable. Many times she used more a gestural language, than the verbal, transforming into a delirant cartoon.
We can reveal that Björk turned red when someone ask about Goldie and she confessed with unhappiness that they no longer are in love.
"In Spain I recorded with the flamenco guitar player Raimundo Amador (for "So Broken" song). He arrived with his band of gypsies. They are completely different of us vikings, but for me was very important to meet a man like him."
"I call this album "Homogenic", a word that not exist. But for me it means that this albums has only one flavour, in contrast to "Debut" and "Post", that were collections of disperse songs that I wrote for a long time. During a winter I heard lots of music from indian movies. Then, for two years, I heard lot of Indian, Japanese and Peru saxofones, only if they were out of tune. And in this way I was collecting material. But before this album I decided to stop and make an album that was the reflexion of what I am right now. This is something that scares, because there is nothing in back were we can hide. This album is more spontaneous, 'straight on fire'".
"When I make music, I'm only me and no one more. And I think 'I'm sorry, but it will not be any remix.' But when I end the songs I start to think who can make the remix. It happens now, for example with Alec Empire. I start to think: 'And if I give only one song to remix?' It is a way of education for me. I make the song, I think it is end one time and then, when the remix arrive, I start again thinking: 'Good, you don't think abut this'. This is not only to make the song danceable. Many of the Telegram remixes are excellent, but they are not danceable. If the music is creative, if it excites me, I should have it, I should go find her."
"When I made the songs of this album, I wanted that they were really "homogenic", only one flavour from the start till the end. And that unique flavour was thinking like a combination of heavy rhythms and dirty and a orchestral section. Without undertones, with nothing more. Everything much in raw, rigid. And the idea at the beginning was to have the orchestra all in the left column, the rhythm in the right one and the voice in the middle of the two. That way the people can decide at home if they want to hear chamber music, in one hand, or ambient music, in the other. But, of course, when I record the album I don't follow that rules -- in the end of the album there is a pair of songs with undertones. Now I can make and EP of remixes with four themes from this album, two with remixes of Alec Empire and two of the Brodsy Quartet.
"I work in a big part of the production with Mark Bell from the LFO. But my transition to the production in this album concerns my process of learning and growing. My first album came out when I was 11 years of age and at that time I only sang. Since then I have progressively assumed new responsibilities, for each album that came out. This album's songs are my songs -- and I'm not saying bad of the producers I've worked with -- but self-producing me is a question of courage. I'm much closer to that which is inside my mind. I think this album is more bold, more black and at same time simple".
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