Björk in my ears is a multisensory experience

I was reminded today of the existence of Björk's "Debut". I use the quotes partly because it's a title, but also because it was only a title. It was Björk's first foray into solo artistry since leaving the sugarcubes, but already had the startlingly disco "Björk" in 1977 (no, really) and 1990's Gling-Gló under her belt, to say nothing of the albums she did with the Sugarcubes, and also with KUKL.

So it wasn't in the traditional sense, a debut. But as Björk drawing a line under everything that had gone on before, and declaring, albeit subtly, that this was something new. And it was. Looking back, it makes total sense, with how her career has gone since then.

If you're recommending Björk to a first-time listener, whichever of her styles you prefer, or want to impress upon the listener, it's likely to be something from after 1992. You might recommend the earlier stuff as further listening, to someone who has already delved into Björk's catalogue, or you might even recommend one of the albums on its own merit, though that's still unlikely to be in the context of "this will give you an idea what Björk is about".

I actually got into Björk because of the singles on Debut, and then, particularly Play Dead. The first single I bought was Army of Me. It was the CD single with b-sides rather than remixes. Army of Me is terrifying. It wasn't at all what I expected, and I didn't really like it. Not a great start. The b-sides were Cover Me, You've Been Flirting Again, and Sweet Intuition. They're all songs that I adore now, and have a special connection to, as this EP was where I really became a fan.

They're all quite sparse and disjointed, which is definitely part of their charm, but which at first confused me. It also intrigued me: here was someone using elements I recognised, in combinations that I didn't (like the pretty dresses and doc martens, that were soon a thing), and that forced me to re-assess what was acceptable in music.

It didn't feel like it at the time, but that last statement was pretty fucking huge. I've listened to a lot of music, and there is no shortage of artists who've influenced what I make, and how I make it. Björk though, kind of opened a door and asked "have you seen what's through here?".

So the first album I actually heard was Post. I didn't get it immediately it came out. I wasn't yet a devout fanboy. I'd dipped my toe in the water and it felt fine, but I was still getting my head round Army of Me. It took Hyperballad to get me properly on board. I loved that its name was a description rather than a name. I was/is exactly that. A ballad, with a bonkers beat over it. I was still only becoming aware of the potential of orchestral strings over an electronic beat, and Hyperballad caught me at just the right time.

I got Post in the ltd edition digipak version. Again I was confused. I already knew I loved Hyperballad, and I was growing to like Army of Me. It was also nice to hear an English version of You've been flirting again, but a lot of the rest of the album left me utterly bewildered. I resolved to come back to it and try again, and went and got distracted with George Michael and Radiohead.

Some months later, having neglected to try Post again, I was in HMV, and they had the then brand-new Homogenic, on a listening post. I popped on the impressively robust cans and dove in. By the end of the track, I had decided I was having the ltd edition digipak again. getting it home and finding that Hunter is followed immediately by Jóga, reassured me completely that my impulse buy was definitely going to have been worthwhile.

The instrumentation on Homogenic is predominantly strings over electronic beats, mostly provided by Mark Bell of LFO (who I just learned is from my home town. Yay!). It was while she was touring this album that I first got to see her live. The entire set was just Björk, Mark Bell, and the Icelandic String Octet. My mind was blown.

Ever since then, I've been pretty completist about her stuff, working back and getting the stuff that cam out before I was properly aware of her (hence finally hearing Debut after both Post and Homogenic.

I haven't really kept up with the last few albums, and I'm still not really sure what scared me off, I'll get round to it some time. But from Debut to the Live Box, I've got pretty much every b-side and remix, and I know that stuff really well because I've listened to it to death...but not for a while.

It's always a pleasure to go back revisit an artist you love, and hear them through ears that have been changed by experience, since last they were host to this album, or that EP.

So today I listened to Debut, and then Post, and now I'm on Homogenic. What struck me is that listening to each, you get a kind of mental image of the artist as a character. Like, what was she experiencing to write these songs? The first album's overall feel is summed up in the title of the album's one cover - "Like Someone in Love". The whole album is the excitement and optimism about a new love, the feeling of boundless joy, as everything feels to fall into place, and anything seems possible.

Debut closes with The Anchor Song, which is quite bittersweet in tone, and the imagery is of sinking to the dark depths and making it home. It's not dark as such, it's a contended voice that sings it, but one which is maybe a little more resigned than the boisterous, energetic voice of a few songs ago, a little more melancholy than the voice accompanying the harp on the jazz standard.

So the angry, pounding, unrelenting power of Army of Me, when played right after Debut, makes you sit up and take notice. This is no longer the happy-go-lucky protagonist of the first adventure, it's the confident, no-shit-taking superhero that is going to guide us through her bonkers breakup recovery methods. It's glorious, such a contrast to Debut. It's more mature on every level - complexity of songs, themes, lyrics, music, production. Björk was in control, and getting stronger for it.

It was that contrast that made me want to write today. I could go on, dissecting each album, listing all the amazing b-sides that are virtually unknown, but Just hearing these albums again made me want to share the story of how Björk lit a fire in me.

The Storm

A couple of weeks ago there was a storm. When I heard the first thunder, I was out in the garden, enjoying the sunshine. I set my phone to record, and sat in the shelter watching the rain.

The storm lasted just under half an hour, and I determined that I would use the recording on a tune. I’d intended to chop it into bits, and use them as intros and outros to a collection of tunes. Then I listened back to the storm, and decided instead to leave it in one piece, and just work around it with some synths.

I went through about 100 synths, playing around with notes, chords, arpeggiators, twiddly knobs, pedals, until I had about 15 that I either really liked, or thought would make interesting white noise, or that sounded like anything from Tron or Blade Runner.

I recorded random bits of melody, and odd chords, at various points throughout the storm, then gradually added bits in between. After some editing, which I found really methodical and soothing, I had something that was starting to sound coherent.

I will most likely end up adding more to it at some point, or playing about with the levels, but as a first draft, I think is ready.

I’ll warn you now though, it’s actually half an hour long, so, you know, I won’t be offended if it’s not for you.

P4

P4810 - 50s Sci-Fi, 80s Mixtape

So here it is. I've been working on this for the past few months, with no clear objective in mind, other than I wanted to finish an album of original material, with the tools I had available to me. 

Everything was recorded in GarageBand, on iPhone 4S and iPhone 6, with some of the synths and beats being played in iKaossilator, which is a really good kaos pad app by Korg. All the guitars are real ones, recorded using an iRig plugged straight into the phone. Most of the guitars are done in one take, and for the most part improvised, which inevitably means there is the odd mistake here and there, but I wanted to capture the essence of the improvisational way that I play, rather than restrict myself to clearly defined parts, which I have a tendency to mess up anyway. 

The vocals were recorded (with varying success) using the mouthpiece on a set of standard iPhone headphones, and then mixed in GarageBand. The overall mix was also done in GarageBand, using the same headphones as monitors. As such, the mix may be a bit odd if you listen on speakers, but if you listen on headphones you'll probably get a better understanding of what I was going for. 

I chose not to restrict myself to any genre, and instead just recorded whatever I felt like doing at the time. Some of the electronica was driven by the fact that I find it the easiest style to do on my phone, and it's also an increasingly large percentage of what I listen to when I'm out and about, so its influence trickles inevitably in. 

I'm constantly learning with GarageBand, so I'm regularly finding new ways to do things, and new things to play with, which often influences the direction a tune will take. I think in terms of "what can I do with what I have?", rather than setting out to make something specific. So I'll start by choosing a tempo, a key, and a set of chords, and then after I've put down a basic beat as a guide, I'll play around within the parameters I've set. Once the first instrument is down, I think about what will work well with it, and will often record several completely different parts and then choose one that works better than the others. The spare tracks are then muted, and sometimes chopped down and re-used elsewhere. 

It's not a professionally produced, expertly mixed album, it's a collection of thoughts and feelings captured over time and assembled in a way that makes sense to me. I hope some of it makes you smile. 

P4