Selmasongs: Dancer In The Dark (2000 Film)

Selmasongs: Dancer In The Dark (2000 Film)

Selmasongs: Dancer In The Dark (2000 Film)
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Music CD Cover

Composer: Björk
Edition: Music CD
Audio: English (Unknown); English (Original Language); English (Published)
Format: Soundtrack
CD Release Date: 2000-09-19
Music Label: Elektra / Wea
Soundtracks:
  1. Overture
  2. Cvalda
  3. I've Seen It All
  4. Scatterheart
  5. In the Musicals
  6. 107 Steps
  7. New World

Free Music Notes for Selmasongs: Dancer In The Dark (2000 Film)

Free Music Review: Amazing Soundtrack From A Mad Musical Genius
Hit: 5 Stars

I think it's now safe to say that Bjork ranks alongside Kurt Cobain and Madonna as the artist whom I have most respect for in the music industry. Her ability to consistently produce groundbreaking, fresh and atmospheric music is a natural wonder to me. The way she proves people wrong by not making music in a sense, but making something completely different. An art form. Undiscovered. Until she creates it. That's why she's a genius, and that's why she will always succeed in making a fantastic record. In 1997 Bjork released "Homogenic," her third solo studio album to date. After listening to this masterpiece, you begin to think Bjork can't do much else in terms of creativity, yet she proved us all wrong in 2000 when she starred in the musical masterpiece "Dancer In The Dark."

Not content with having a leading role in a high-production musical, she also wrote and produced the entire soundtrack, "Selmasongs." The soundtrack is simply one of the best soundtracks that money can buy and ranks alongside Homogenic and Vespertine as Bjork's greatest work to date. Lush sweeping arrangements of orchestral bliss infuse the album with a wonderfully atmospheric and aesthetically-pleasing back drop of sounds, layered on top of each other. The production and composition is first-class and Bjork is, as ever, 100% original in her approach.

"Overture" opens the album. A deep flow of subdued and slightly anticipated instruments introduces the song, and it gradually builds up to a point of almost heart-aching passion at 2:29, and the song gains momentum and flows especially into the first proper song. It's a wonderful instrumental, incredibly dramatic and sets the tone for the soundtrack. "Cvalda" is one of my favourite songs from the album and one of Bjork's best in my opinion. The song starts off with a very interesting beat from an industrial factory. The machines clattering away at work, creating the beat. This then builds up into a gleeful and joyous musical number as Bjork sings so sweetly, "Clatter, crash, clack! Racket, bang, thump!" By the second minute it's an all-out schizophrenia of musical madness. Overall it's a marvellous song that starts off with an expected sense of disappointment but winds up being a mad musical masterpiece.

"I've Seen It All" is up next and a fantastic duet between Bjork and the genius Thom Yorke of Radiohead. The song starts off with a train on a track as its beat, before starting off slowly and in a swaying mood. The song gradually builds into a typical Bjork-esque masterpiece (Yeah, most of her songs are masterpieces!) where she sonically opens up the landscapes of the song by adding depth. It's just a pleasure to listen to such wonderful music, and the verbal-fencing style banter between the two is most humorous. "Scatterheart" is said to be the best song on the album by many who have reviewed this soundtrack. For me this is definitely not the case. There is much better on offer here, yet this is still a good song of somewhat lengthy proportions.

"In The Musicals" makes hardly any sense at all, but then again, it pays homage to musicals, so it's not really meant to! Here Bjork just appears to have picked up any objects she finds and makes a beat out of them, from a basketball at the start to many other various things towards the end. A superb string section works in complete harmony with a percussion section. Superb, as usual. "107 Steps" starts off incredibly close to the ear with a woman whispering "Five, six, seven, eight, nine, ten..." and so on, with footsteps in time with the counting. This builds up perfectly to an awesome entrance from Bjork as she sings random numbers. The beat is incredibly catchy and the lush string section that builds up after around 45 seconds is just awe-inspiring. "New World" is the seventh and final song on this brief soundtrack. It starts off subdued and quiet with the sweeping orchestral beat that opened the record. A trippy electronica beat is added in the background, dancing around to Bjork's soaring vocals. She sings with such passion, such amazement and exploration to the things around her, and a general appreciation for life and love.

OVERALL GRADE: 10/10

All in all, I cannot recommend this soundtrack enough. I haven't actually seen Dancer In The Dark yet, but I do plan on doing so. I have, admittedly, been trying to pick this album for any possible flaws. I can, as always with masterpieces by Bjork, find none at all, except one - it's a little bit too short. At just over thirty minutes, it's a short and brief soundtrack, but it really is worth paying top money for it because you're sure to get years of musical enjoyment out of this. Selmasongs was the fourth album by Bjork that I bought (around a month ago), and I haven't looked back. Rumour has it she's got a new album out this year, and I am so buying it! But whilst I wait, I know I can revel in the madness and musical beauty that is Selmasongs. Buy it now and treasure it forever.

Selmasongs: Dancer In The Dark (2000 Film) Poster

Inspired by the film Dancer in the Dark's Broadwayesque emotional sweep, Björk stretches herself with orchestral mood swings and a darker, more experimental palette. The result is the most difficult record she's made since her Sugarcubes days, but a few listens reveal the thrilling heart of a truly multifaceted and immensely brave composer. --Matthew Cooke
In Dancer in the Dark, Björk plays Selma, a Czech mother who labors furiously in order to save her son from an inherited disease that will cause blindness. In the midst of all her hardship, the one thing that keeps her spirits up is musicals. Here lies the premise of the Selmasongs EP. The seven tracks sound like something straight out of a Gene Kelly movie but with one major addendum: Björk's wildly imaginative, postmodern songwriting. The movie's theme of fantasy coexisting with urban industrial bleakness is represented in two recurring elements: mechanical friction (expressed rhythmically in the sounds of train tracks, car engines, chains, and even chalk) and dreamy escapism (manifested in enormous orchestral swells of strings, harp, and other fanciful instrumentation). "Cvalda" is typical of the EP's duality. Industrial noise bleeds into Björk's scatting "Clatter! Crash! Clack! Rattle!" then dives head first into a wonderful tap-dancing-on-a tin-roof, big-band cacophony. The EP's showstopper, the rousing "In the Musicals 1 & 2," sounds like it was conducted with a magic wand. Beginning with Aphex Twin-inspired beats bouncing like a ball bearing dribbled hard on pavement, the intricate rhythmic choreography tromps, flits, and changes direction with seamless angularity. These aren't just songs to dance to, these are songs that dance. --Beth Massa

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