björk: nowness interview

hello i'm jefferson hack and on behalf of malice it gives me great pleasure to be sitting here with Bjork and Andrew Wang I've got goosebumps sitting here knowing that we're going to be able to spend about 40 minutes together talking about collaboration about your new single that dropped today the gate and the film that you guys worked on together and many many more things that you might have on the top of your mind that you just want to talk to us about today so Bjork congratulations you're single came out today the gate how does it feel yeah it's like definitely very thrilling it's really really cathartic and yeah feels special yeah different thank people it's so unexpected when I listen to it today so unexpected where's all the angst where's all the anger what happened well you come out all night and fluffy yeah I don't know I guess the last album yeah for sure was very much about grief and sadness and I guess when you grind the bottom that conscientiously you cannot like eventually float up to the surface and become light and fluffy and this song is a documentation of that probably mm-hmm when the Korra was famously you called it your heartbreak album and of course it dealt with you know your breakup from Matthew Barney and you know you exposed your vulnerability you exposed your pain you exposed your anger and all the different emotions that come with that process of like you said of grief in a way and you know this song opens up with the lyric my healing chest wound and in a way it's very related to volunter corps because vana Cora also has that image that Andrew designed for the elbe for the LP cover with you when you're bent over then overdub and you've got that bright red chest wound that open wound from the from the pain of of the of the breakup so I guess it's it's about love this song in a way yeah it's about almost like a metaphysical thing where the the the wound of heartbreak when you kind of feel your heart gets broken in your chest kind of implodes and when that sort of shape oval shape restores it becomes a gate and then you maybe discover even more so than before that that it was there all all along you know and then it's like a gate that when you're are next to people who love you exchange energy and I felt really lucky that and privileged the undie was up for doing this video with with us because we went really deep into and it did with us a lot of videos for Hulu Cora and the wound was kind of like going through that whole album and so to get specially in the video of the family we are literally sewing as the VR film that you guys made together that's part of Bjork digital yeah it's also talked about that no and then we I saw the room together so to come through that with with Andy and the sort of visual world we were kind of kind of almost gone into like short short speech describing to that he would be the one who directed this video where actually it it heals and you and you maintain or you you you get like healthy currents and energies back where that you know you learn how to love in a healthy way again or something so Andrew we won't see the film till Monday when it's permeated or nowness calm there is a sneak preview of it happening in London for the public on the weekend on Saturday and Sunday so if the public come to the store which is in Surrey Street off the Strand in London they'll be able to experience it as an installation tell me what can we expect or what can the public expect when they come into the room to be confronted with your visual interpretation of this song again I think this like Bjork said this this film is kind of the fall kind of caps off the full arc of everything we did for volnek era and this kind of takes off where Valda Kerr left off so they can you know I think where as one that Kara was very introspective this one you know while it is a piece about love and two lovers and you know that I'm the main characters in the piece it's um it is kind of a very future facing still almost like sci-fi look at you know what what the future could be you know and I think and it's also just extremely you know just visually packed it's a it's a really ambitious video that we set out to make it's full of incredible special effects and it's said in this kind of cybernetic ecstasy is how I've sort of come to that come to describe it in my own way very futuristic maybe your most CGI'd project that you've done together as a film yeah yeah and the first piece that Bjork and I did mutual core was also really effects-heavy but I think being a piece about the earth quite literally it made sense to use a lot of tactile puppetry and physical effects but this one being like you said a cybernetic love story it made sense to use fully CG techniques and you know it was quite ambitious because we did a lot more data capture on than we normally do and we also just to be honest use a lot of the visual language that Alessandra Michel set out with the the dress that she's wearing you know it was very much about he just dropped a really big name into the conversation yes um drew Michaela is the creative director of Gucci so how did he get in between your creative process how did that all come about be okay maybe maybe talk about how you how you and Alessandra how Alessandra became a part of this project hmm it's hard to actually pick the first moment I think it was some sort of a conversation official ping-pong between the sort of masks that James Mary it's been making I'm wearing one of this beautiful masks right now it's so incredible this collaboration with James and I want to spend a little bit of time talking about that because he's been making masks for you for for many years for about five years now I think right if not longer but but let's part that and come back to that let's talk about Alessandra for a minute yeah I'm probably not gonna remember exactly how it is but sort of in the feeling it this like Alessandra was adoring that somehow from afar and it became somehow kind of a circle of some sort of inspiration or something and then we they approached me wanting to do something because I'm an old punk and I'm a bit Trixie when it comes to certain things like that I was like hmm maybe not but how about you I'm not so good with with these kind of huge corporate statements and don't like them so much but one thing I do love is being in a room with several fertile minds and just make things together like let's knit something from scratch and it's just like do it together so do you want to be part of part of that conversation with us and he was like right off for it what's so amazing is that you know fashion designers who have you know the most creative fashion designers that that have been around have been a part of your story I mean you've really connected with fashion designers so they were sustained Chilean four-post there was Alexander McQueen famously for homogenic and many other things and more recently respond happen and you know many times you've worked with with them with with costume and design to create your character and really in the this in this film the the costume and the the costume and the carrots almost one and and it and it really they're really at the center of everything it's almost like a world with a universe within a universe so I guess the contribution and the dialogue between mrs. Alexander Sandra mccallion yourself must have been really really vibrant very like you say very fertile ground to build such an incredible world from I think for me because this song for me is almost like pure severe that I mean in Alejandro Africa to bring another collaborator to another person into the picture it's just for me it's like this perfect sphere and and for me the lyric really says it all and literally spells it out if you read the lyric and we had that between us and I for me it became very apparent that this is sort of a video where it kind of would be more about undies craft as a sort of post I don't know what what to call it digital would call it the digital maker yeah digital filmmaking yeah and and the dress you know would be almost like a character you know but but I think almost like yeah but like a like a smear you know where that would exist and the choreography of the the character I mean I think it's very beautiful the way he does avatars kind of like avatars you know it's puppetry and he does it enough really you can really tell this Andy like nobody does it really like my Gandhi what did what did Alessandra makayley bring bring to you and he wanted to do what did his contribution bring well sort of bouncing up your question and also what Burke was saying we we ended volnek Kara doing avatars for the VR experience and sort of telling Bjork story her personal story by proxy in this virtual world and so when we when we first spoke to Alessandro he was looking at a lot of those avatars so I feel like what he did is he made that character real and he he made it in the most you know the grandest way possible with these these iridescent materials and you know Bjork was also talking about when when she first approached me about the film and the song we talked about how it was her York it was Bjork's idea to sort of the the basic narrative of this film being about two lovers passing a prison of love back and forth to each other and so when Alessandro kind of saw the you know what when I wrote the treatment Alessandro read that and you know spoke to Bjork and saw the work that we were doing on the vil Nakia already and then he designed basically the avatar and the flesh you know for free Bjork to wear and you know that became the visual vocabulary for the film so you know well my job is to tell the story visually but also to look at what Alessandra is doing pick out the you know actually look at the actual materials and replicate them digitally to extend them and that's you know that's very much what this film is about as burek extending herself you know through this gate and through the outfit she's wearing and so I can add one thing I think out of all songs I've done in videos it's been most kind of like a pure thread through like I think me and Alejandro ARCA we're talking about prisms and I was actually doing sketches in my diary where like what what happens after this kind of wound and and and you know when you have a shock you split into different colors almost like a like a prism and then the only thing that can heal you is love and then you unite them all into one point and Alejandro was reading all these books at the same time from a more psychological point of view and then he sent me a song called prism and we were talking about prisms as sound as a Sun is almost like synth synesthesia looked like a a prism and then I wrote the lyric about like prism and then we did the video based on prison and James made a mask that basically was a prism and I think also Alessandro Michaela was also inspired by James's prism mask and then James was inspired by the dress and we were all ended up being inspired by each other but it was all kind of like coming from this one idea like a prism so it's both the sounds and the lyric and the a video and the masks and the dress fantastic and let's take a let's take a look at that mask so is it living is it moving oops it's truly alive but it brings you alive as well in a very different way if Mark it hides your face but it also brings you alive in a very different way how do you feel when you're wearing the mask do you feel each masks brings a different aspect of you out or do you feel it's it's about mixing a mask to a moment and an outfit I think it's different because they're very they're very sensual the masks that James has been making for you which is very different from the idea of a mask which is too obscure they bring it they bring a real sensuality to your face into your character I think our work together - James is very it's very intuitive so sometimes we don't even speak much but I think sometimes they come from my idea sometimes he like this one he just did construction it's almost like the it's your eyes are extending above your head and your your lips are extending through the through the through the leaves and it's really yeah I mean I think it's both hiding and revealing I mean I think maybe because I've been doing what I think for such a long time it it helps me kind of be more expressive in the ways I know I can be generous to people that I don't know and then I can be more generous and protective and give certain things to my close ones so in a strange way it's kind of like helps me kind of make that flow help more healthy if that makes any sense I know you a little bit we have it we have a we have a personal relationship as well as a professional one and I know that you also will wear fantastic outfits and masks just to have lunch with your friends on the Saturday afternoon where you know when you're not working when you're not promoting a record there is no kind of you're not you're not you know it this isn't just for this isn't just a nap do you really live your world fully and you are in a world that you create fully all the time when you're making music when you're when you're in a periods between making music it's it's it's it's just something I wanted to to ask you about because there people might get the impression that there is AB your character that you've invented and then there's you who sits at home with like you know sweatpants and a t-shirt and I don't know you know hangs out without any of the artifice but you really are not like that I'm a bit of both I just came from a month of mixing mixing the album so finishing the album yeah I would actually was in this DJ every day for like six weeks or something did you know have your mixing mascot mm-hmm related naked mixing that's it's when it goes all bad yeah actually was like in a coma and remote control through and these avatars the mixing desk and so let's talk about your relationship with Alice a fella Alejandra our curb all right now the sound of this record I haven't heard I've heard little bit a few tracks from it not all of it but it's very different from volna Cora it's a it's a it's a consciously different and talked about some of the differences that we can expect in the sonic envelope of the album and then in some of the stories that you in in some of the songs yeah I think I did I had written more new current on the string arrangements for like 14 months most of the writing when I met Alejandro and he did the beats to it kind of after it was sort of done except not yet which was the song where it was the first song where we kind of wrote together and produced together because at that point we were a relationship musical partnership was so strong and then when we were done and it was so dramatic like doing all those concerts in Carnegie Hall and everybody were crying you know so we were like we've earned the lightness you know and so I also felt as a musician I obviously saw gigantic musician in him and I felt that he had gone into my world and with such elegance and dignity and and interpretated helped me what was there that I wanted to meet like let's meet on a more equal basis and of course it's my album for sure I mean and he makes his albums and they have his name on it but as just as a pure musician we kind of end with decided to enter this other world and this other Island which is the sort of Erica pure overlap and he pulled out like b-sides from my past that the more sort of instrumental music that I made song called bath abyss and I'm very smart which was a song from dr9 and and other like really strange besides that he had kind of like when he was a child in Venezuela and we kind of pulled this canal to close coordinates and made this kind of new picture and then I arranged flutist started a 12-piece flute ice on the flute section and spent a few months recording and rehearsing with them and so I'm kind of taking the flute the instrument I learned as a kid and and kind of like tapping putting that into everything so the whole album is a little bit about air because it's sort of we decided to have sins that have a lot of air sounds in them and and feuds that sound cynthy so it's that sort of crossover there and and also we realize there are certain chord progressions that we sort of share even though we are generations apart and there's a certain kind of joy like where we keep our joy is kind of similar and where we keep our sort of darkness is not that dissimilar so yeah I mean I I I'm really pleased with it I just started finishing mixing it yesterday but how does that feel you said earlier before the interview started you said you were a bit fried you know I mean it's like I was it's like if you just edit it up like a film like I mean but auntie comes from the same thing he's been acting posts for ears you know your brain just becomes like a cabinet with like convert little little drawers and I was like started getting scare off myself where I knew I knew I heard a sound and now there's too much reverb in song 7 on you know and I know I knew and I was stuck talking I know that's on the third minute and 12 seconds that particular sound my goodness like it's just scary you don't want to go there you know you must be really relieved that it's over how very happy to be able to release it to the world when you did the interview four days that came out last month you called it you're dating album your tinder album so tell us about some of the stories some of this some of the songs that we can expect to hear why is it you're dating album why did you describe it like 16 I like to leave it there I mean it is it sort of needs to be mysterious of course I mean we I mean one thing maybe we could say that we kind of didn't me talk about that Chinese got this ultimately about openness and that's kind of what you are when you're dating when you're open you're like suddenly reopening and like the world is vibrant to you again and it's that energy and optimism of that openness optimism yeah and we were well Bjork and I were talking about and James were talking about like China the Chinese goddess Guan Yin she's kind of like the goddess of self of salvation and you know she just has this very vertical all the statues of her just very vertical and she has this very vertical crest and so I thought it really worked beautifully with James's mask of the way it's like this Kundalini kind of weaving that that kind of culminates here I thought it was like a really beautiful motif to have that verticality it's like openness but also this like assertion of hope and that's why I find the video very optimist as the director working with kind of four different creative creative directors who are all in putting James Mary you know Alejandra makayley Bjork how does how do you take on board all of those different inputs I mean is it is it something that becomes confusing or is it something that becomes liberating in a way I find it a lot of fun I mean I think it's the most fun thing for me to sit with Bjork and James and just riff and share YouTube videos and you know James is such an amazing mind and you know has such a wealth of knowledge and he'll you know make an entire you know document for us to look at about you know the the history of Kundalini lines or something you know like so I think for me it's I find it inspiring and enriching and nourishing you know sometimes you work with artists and you know they'll give you a blank slate to make a music video and that's nice too but I find you know just as a creator it's always nice to have a launchpad and to actually just have something that you can almost like academically explore together in in real depth and then turn that off and just start making and see what comes out of that so I find it really nourishing Bjork you really kind of create an environment for collaboration to thrive I mean ever since the beginning of your you know the beginnings of your career you've always been in collaborative situations making music with other artists you know even in even even in the sugar cubes it was very much a kind of communal spirit I would say sort of a punk DIY commune spirit with everyone sharing and being involved in all aspects of the music and artwork and things like that and then right through working through your career working with so many different collaborators visual ones and and sonic ones in a way you're the master of collaboration and somebody that I really look up to is setting a template for for being remaining relevant remaining current through through collaboration what's the key to successful collaboration hmm thank you I'm like blushing I don't know I mean is it as simple as something like just openness and and and willingness or is there more to it I'm just a very impulsive kind of person I really act on conscience you know I think but uh yeah I mean it's really hard for me also because every relationship is different I would also feel like I could have some on my relation with auntie Huang is very different to my relationship to James Murray you know and my relationship to Alejandro Africa that's very different so it's a bit I don't want to say it's all the same but uh it seems like you really thrive on being in dialogue and exchange with other people and that it's those relationships that keep you moving forward and you choose very carefully and sometimes you go on mad hunches I can in that you know I can I've seen in the past but what that does is about it's about interaction and about not being feared of what the outcome might be it may be it is because I don't wanna go too deeply into it but when I was 14 I met all these people that were older than me and I was the punk scene in Iceland and like you say it was a very sort of a group it wasn't about dropping the egos and if somebody needs to make a poster for this poetry book we all do it together and I come from this kind of background but I think I did that for 10 years so when I moved to London and met you guys I had that much so very well develop but I also I actually spend a lot of my time on my own arranging music walking outside making the melodies so that's like a separate side to me that I don't really talk about so the solitaire or their sort of lonely hours figure out of the computer I'm sure you know where you are and that's a craft you have that you know I think maybe if I'm gonna pretend that I know something which I don't I would maybe say you can you don't have to sacrifice one for the other maybe they can coexist and that chamber of you yourself that writes the scripts all writes the poetry or walks alone outside and writes melodies or writes that novel you know that sort of solitaire side of you you can feed that and then you can go and be very collaborative yeah and then if it works really well to be collaborating I mean you drop your ego and you are very sort of you heal and you make a flow and yeah and it's something one plus one is three you know it's more than you would have done on your own then you can go back in the other space you know so I think you don't have to choose if I have to say anything you can you can do both that's brilliant you've collaborated you've collaborated on at least five four or six this will be your sixth project together tell me about your first coming together around mutual core how did that come about how did you meet I made a film that was like a personal project that involved a lot of kind of similar it was like on a similar wavelength to what Bjork had already developed with mutual core like the the app and and biophilia and so I believe it was Mark Bell actually that shared and the the work with you and then burek reached out coincidentally I was actually in Iceland one but you when you were in Buenos Aires when I first heard about or heard from you and so I flew home flew right back and then we just started you know it was kind of just a brand new collaboration and and burek woods again very generous and open and kind of allowed me to with it but and you know that that was my first experience with you know frankly just feeling that generosity from from giro really unusual places as a director of music videos and commercials because your work is also an art institution so you know having Black Lake in Momo as a as a center piece and now in the permanent collection there must be very interesting to be able to sort of transcend audiences and transcend the boundaries of what a music video is and what an art installation is yeah and I remember experiencing it in going in and it was the - it was two screens a two screen installation tell us why you were why you were interested in exploring those kind of dimensions with two screens and then furthermore what the virtual reality experience kind of allowed you as a filmmaker to I guess how that allowed you to have a different dialogue with the audience for both you björk yeah I mean I think after credit burek for her original instincts when we first met to talk about the MoMA project Bjork's head was already in the sinking in the 360 space or in an immersive and an immersive space and when we talked about the you know with Klaus beasts and Baca at the Museum we knew that we wanted to create something that people can share together something that's immersive but you know I think it was it was I mean to be honest I think me and Burke have been through a lot of just trial and error and error you know like we've been through a lot of experimenting I mean there's that problem of of wanting something to be immersive but shareable and so I think Black Lake and stone milker kind of go hand in hand Black Lake was kind of the attempt to try and and you know create that that installation physically you know I think with the the just being you know a museum right in the middle of Manhattan there we had certain challenges and I think what we found with stone milker is that you that you can create that immersive experience but it is an intimate one it is like a one-on-one one and you know experience and I think that's what was so exciting about VR when we went on that road together so you know it was but at the same time you know I'm really I feel good about Black Lake that we shot it the way we did it was the death song it should have been here you know it should have been cinematic it should have been widescreen and it should have been the the song was a very linear scrolling song and so we needed the format to reflect the song whereas stone milker was this fugue like circular song and so it made sense to shoot in a circular medium so I think through that experience I've just frankly learned a lot with Bjork on on just how to make the medium speak to the content of the of the song and the you know so it's been he's being so flattering so I get a have a go too I think because obviously for every musician when they make music it's very spatial thing it's a very sonic thing you know ok this song is yelling light and floats in the sky and another like a pop song or whatever is you know like it's always spatial so to collaborate with something like Andy you can come up with this kind of really abstract spatial ideas and you know he's gonna execute them really really well so you you get braver with with with suggestions and I think also just with follow it was actually really exciting to just just jump into this deep end of let's just do the Dr thing and let's experiment in the opening you know like you've gone beyond experimenting in VR you've come fully into the ER I mean done you create a Bjork digital which is now a VR touring show which is just opened in Moscow I think this week and it's been to like eight different countries and you've kind of taken you've kind of gone all in on via why why did you believe in it so much so early what was it about VR that you just thought I've got to take this too I've just got to spend all my time exploring this I mean every month I probably answer this question differently but right now I'll try a new answer to see what it feels like but I think something about the heartbreak saga of Runa Cora and there were certain decisions like like I was just thinking oh my god I didn't perform any of those songs in TV and I was just like no like that's not where it's gonna go and I think I was really protective of the sensitive material that it would be very easily be sensationalized sensationalized and I didn't want it to be like a soap opera you know I want it just to be very wrapped in a careful ribbon you know a pole and kept in a really precious place so I did very very few things but very very Select like few Carnegie Hall's up at all and then how I took that album to the world but then and and the Monmouthshire was worked in some ways but then there were other ways where where it maybe didn't work so we learned a lot from that and when we did the song Muscovy are we literally had an idea in the evening short of the next day and it was you know it was so effortless after like a year and a half of just 50 billion meetings to try to get this Conor to work in the museum context so we were certainly like wow there's like this this we've tried to make it work in this context it didn't that's just too much concrete on top like skyscrapers sitting on top of us but here we can go forever in this direction and it and we just we were just lucky enough to figure it out that that's where it could grow and obviously as a musician and as a performer I knew compared to all my other albums the Vilna could have had the theatrical potential for in a Greek tragedy or like you know like I really like you know like Shakespearean sort of situation you know and the Divya was perfect for that big but it was private there was something about just putting that thing on your head and had fans and it's not there you're the private life isn't just spread all over the universe it's it's like one on one and it's more like it's not in some gossip columns or something do you know what I mean it's like a private search because of private theaters and it just suited the music I think it that it was like reading a book you know it's it's you it's a one-on-one album and I think that's one of the reason why it sort of worked but we totally believe moving says we found out by trial and error there was a lot of walls we hit until we got to that point you know both emotionally or not emotionally but just like musically and but also just with technology because all the VR videos are done with different technologies different teams different software's different like we could do another interview just about that so there's and that's where I have to chair unti because I'm not so noticeable about the left but just to make it like like figure out how that would work but also give room for the emotional or the music you know so that felt right for the emotion of all Nikora does that mean there won't be vr projects from this new album and that you're going to release it in a different way and that you're maybe going to perform in a different way like what can we expect what's what what can we expect from the presentation of this album I felt so this app that's why we wanted to do our YouTube we're back not on YouTube on nowness oh thank you sorry it's very sorry but I know what you mean you wanted to do a video that could be shared and could be distributed and could be seen on on a screen and not have to be put into a VR headset yeah maybe I was emotionally because it's sort of you know we're tapping into the Chinese goddess of love and it's sort of about like the most open emotional position you can be in similar I mean it's your dating album so I guess you want it you want to get out and be as available to as many people as possible that keep your options open you know pretty much heartbreak you need a small cut close circle of friends now the sky's the limit I think but I think because I'm three gigs in like iPod but I just think emotion I think it's very important to trust that with technology you have all the different formats and they actually match the emotional stances sure and I think now in this video or like a 2d online video it is very sort of like extra rests as of all formats it's probably the most abstruse one and of all my songs this one is probably the the message of this lyric is it's kind of like all is full of love - you know it's kind of like as open as possible so that's sort of the reason but about the future I don't want to say too much because in my cheeks jinx it but there are several ideas going on and I think I will find some interesting ways of I will solve the riddle of how to perform this album life I think whatever you do you know that it's going to be new and different and extraordinary but talking about extrovert last time I saw you you were DJing in a club in Paris for the after party of Eros van Herpen and you are quite an extrovert DJ after say you do give it some on the decks I wish we had some decks here we could do a little demo of DJ fierce but why you love it right you love DJ what is it about DJing that gets you so extra this gets you so amped I think they may be being brought up in a small town like when I was a teenager if he wanted a good night out he basically just had to go to the bar with least people and just take over but that's basically my methods so I mean you've been with us and reykjavik you know you just go to a tiny bar and wreak havoc nervous leaves and then you just take turns in teaching and if the music is bad you know you just have to stand up and do it but I mean I look the only one Icelandic person who's like that I mean so I mean I'm more or less been dating since as a teenager just like that but I think last especially with Brunton's Tosi we had a little team in New York where we started teaching with like seems at first I mean we once teach it for five hours test baselines which was posted from cellos you know like back to like acid house to like you name it also with young composers and then it was a lot of people that we did it together and then with some of the other themes I love that just bass lines whatever it was so like you years after that it was like we started like a Thor because we would like empty just teaching in a drunk and a party we want to have like wide open ears hmm and then we would start like yeah like yeah be like box cellos and then but it was so fun because there was so many of us and then the next thing we did was handclaps so it's that was so fun and we started in like those kind of Moroccan music spiritual and then we went to like girl groups and hip-hop R&B and everybody had like bleeding fun so the end of the night because it was like my girlfriend's back and and we basically just we start really sober and cappuccinos and really serious and play like Steve Reich or something and then five hours into it we're pouring drinks into our ears collapse is so important though they've you know you were talking about Rekha Vic and going out as a teenager and taking over the music but like when you you're still I still see you and hear about you going to some of the most cutting-edge clubs in London and I'm sure you you love to go and explore new music and what's happening on an underground on the underground level in Berlin or in or in New York or in the places where you're touring what is it about clubs and the music in clubs that's so important for you and our clubs still good I mean everyone always says oh it was better back in a certain day you know whatever that day might be but you seem to be very much plugged into what's happening now so I don't know I've just always grind up followed I mean it's just about waking up in the morning and or not finding that in the morning is stretching finding that song that's gonna let make your day you know yeah it's that sort of enthusiasm but I mean I don't go out that often but when I when there's I really follow what's going on and then when I go out I make sure it's something really special so I've been really lucky you know last few years in Brooklyn there's been a lot of stuff going on a lot of really am music and and when I'm in London I I I've been I'm also obviously got really good I've been doing those kind of combined DJ nights with strange themes in Brooklyn and then three years ago I did a few here in London with a few friends and different plot and Matthew helper and and accent cloak and Africa and and meet car from Michael Ealy basically you and your friends are a touring DJ liner that our festival worthy so wherever you go there's going to be a party I guess I don't know yeah and Bjork Digital where can we expect it to to be going next well it's in four places close to Russia and and Europe in the autumn and then it will go travel next year to South America properly and it's really sweet because now we're adding the gates and I'm hoping it can be this thing that travels and I can add to whatever I'm doing into it oh that's so fantastic but obviously it's it's it's about you know how many people offer us so requests you know you know request us which countries one will request to have it yep um well that's brilliant and I was going to ask you what's the name of the album has it only thing have you decided yet oh when can you reveal it here for the first time I had exclusive come on okay I have thousand name suggestions and I think it's gonna be called utopia I can't think of anything but it is that official well if I changed my mind five minutes before the album cover goes into print that might happen but as I'm here with you guys I kind of like the fact that it's a cliche that words and I like the fact that it has like a fascistic weird like I want the world to be like this feeling about it because that's sort of it's a proposal how we can live in the future with nature and technology in the most optimistic way possible you know and and you know that we have Trump we have brexit we have our issues in Iceland we have our environmental issues I think if there ever was urgency or necessity to come up with our another utopian model how we're gonna live our life I think it's now and this is my proposals or mine and Alejandro's because it's very we wrote it very much together it's been a real privilege talking to bjerk and it's been a real honor to talk to you to Andrew you've told us so much about your process about collaboration about this new film that we're going to see on nowness on Monday about your new album and you've revealed the title of it here intopia so yeah and thanks so much for everybody who's joined us on Facebook for this Facebook live it's been really really fun doing this and hopefully it won't be the last time we all get to talk to each other thank you you

Channel: Björk BR

Views: 101,382

Rating: 4.9269037 out of 5

Keywords: Björk, legendado, entrevista, nowness, the gate, björk digital, björk arca, utopia, vulnicura, björk brasil

Id: GuoStis3vUA

Length: 50min 35sec (3035 seconds)

Published: Sun Sep 24 2017