Björk "Selmasongs"

"Selmasongs" consists of the music Björk wrote for her leading role in Lars von Trier's film "Dancer in the dark" (read my review!). This is yet another chapter in the ever so unpredicatable Björk-story. This marks one further step away from the dance-ability and cheerfulness of "Debut". "Selmasongs" has got a highly pretentious, theatrical feel and is even slower and more string-based than her previous release "Homogenic". Björk's voice is backed up by a full orchestra and experimental, electronic drum-patterns throughout the whole album. Some listeners may be put by the pretentiousness and the lack of dance-ability but personally I think this is her greatest album since "Post". The overall song-quality is even higher than on "Homogenic" and the orchestra has given her a great opportunity to keep experimenting with different musical arrangements. Björk is breaking new ground again. As always.

1. "Ouverture"

This highly dramatic orchestral piece sets the mood for the film before the curtains are drawn and exposes a rehersal for "Sound of music". First there's a monotonous horn, then the brass-section sets in for the beautiful melody-line. The song eventually gains in intensity and finally there's a graceful crescendo. A very powerful and captivating opening.

2. "Cvalda" (feat. Catherene Deneuve)

"Cvalda" contains remiscents of both "Pluto" and "It's oh so quiet", which makes it the only actual up-beat-tune on "Selmasongs". The opening minute consists of industrial noises slowly developing into dance-able rhythms. As Björk starts singing, it moves further in the direction of a "Sound of music"-esque musical-number before the nice orchestral- techno-chorus. This is one of the highlights of "Selmasongs". And I think it's got some MTV-potential as well.

3. "I've seen it all" (feat. Thom Yorke)

A train filled woth factory-workers creates a slo drum-beat for this dramatical orchestral-based duet between Björk and Thom Yorke (singer of Radiohead). The sweeping violins are a great contrast to the industrial bavkground-noises. Björk's and Thom's voices blend very well and creates a highly intense, theatrical atmosphere. The choir-based final from the film is replaced by a great spoken-word-passage. Overall this is highly passionate and captivating. And Thom Yorke is probably the most talented male singer Björk has ever worked with ;-)

4. Scatterheart

Continuing in the same vein, "Scatterheart" is Björk alone with an orchestra and a drum-machine. A short Portishead-remiscent intro sets the mood and the vocals vary from distorted whispers to operatic chanting. It sounds a bit similar to the previous Björk- and Thom-duet, only more intriguing and captivating. Not to mention eerie and haunting! The slow, dark and omnious atmosphere makes "Scatterheart" my favorite Selma-song.

5. "In the musicals"

This is Björk's experimental techno-tribute to the standard Hollywood-musical. Björk's voice is backed by a hysterical electronic drum-pattern, which is suddenly replaced by a graceful orchestral crescendo. A pencil-solo(!) and a nice tap-break adds some more flavours to this very interesting piece of nostalgia.

6. "107 steps"

Continuing on the same theme, "107" steps is played while Björk dances all the way from the death-cell to the place of execution. Short but very powerful.

7. "New world"

This is a vocals-version of "Ouverture", which lightens the mood a bit after the dark ending of "Dancer in the dark". This is standard-Björk backed up by a drum-machine and a string-section. Just as beautiful and tear-stained as "Jóga" or "Hyperballad". And a great ending to this remarkable album.