Selmasongs: Dancer In The Dark (2000 Film)
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Free Music Notes for Selmasongs: Dancer In The Dark (2000 Film)
Free Music Review: The Birth of Björk Gudmundsdöttir
Hit: 5 Stars
Bjork considers this album to be her best work ever. I agree. As a person who has tirelessly followed her career since her Sugarcubes days, I am stunned at how Björk has managed to lift her music another notch and become truly other-wordly. Its albums like this that make me wonder why I ever thought Tori Amos was a demi Goddess, or that Fiona Apple was as good as they come. 'Selmasongs' is a revelation, and also a showstopper - I doubt anything on Björk's new album 'Vespertine' could rival the musical genius of this CD.That said, this is meant to be a review of the CD and not a critical analysis of the artist's musical growth, so lets move on. I must emphasize that this album is best appreciated only if you've actually seen the movie. If you haven't, don't go here. And while its true that Selmasongs is NOT a soundtrack in the real sense of the term (all the songs are studio-sung and barely resemble the songs on the screen), it is also not an EP or a regular album. Once again, our Icelandic diva has managed to triumph over genre and typecasting to create something so new and revolutionary, that it takes your breath away.
1. Overture : The theme to the film is also the tune to 'New World' and 'The Next to last Song'. It opens the movie, in a long drawn sequence that is meant to evoke the sentiment that life is one big open canvas.
2. Cvalda : The equivalent to 'Its Oh so Quiet' but more musically creative. 'Zing boom' becomes 'Clatter Crash', and when Catherine Deneuve steps in to give Bjork a hand with the vocals, you know that this is an instant masterpiece. Using electronica, machinery, and industrial harmonies, Bjork has managed to do what Tricky and Goldie could not - to create the ultimate example of factory-blend alterna. 'Cvalda' is the perfect song to kick off the soundtrack, and is also the first musical number in the movie.
3. I've seen it all - Despite being sung by a different male voice (Thom Yorke, in this case), the track retains its freshness, and while it is certainly novel, it seems rather contrived and formulated - guess they had to have one track on here that stuck with convention and modern rhythm. Lars Von Trier is said to have monitored the making of this song keenly and all the over-interest has not managed to kill it off totally. Its a wonderful orchestral and vocal piece, and the lyrics are beautiful.
4. Scatterheart : While this is the most chilling songs on the screen, Bjork insisted on rewriting it for the soundtrack. The result is a hacked, lyrically different version from the one on film. The haunting child vocal ('You just did what you had to do') is replaced by the more pensive 'You just have to find out for yourself' sung by Bjork. This is not bad, but I did miss the original version. The new song also doesn't reveal as much of the storyline as the movie version's does. But of course.
5. In the Musicals : This has become one of my favorite Bjork tracks. It is unique and breathtaking, and I have played it over, imagining how Bjork must have constructed such a multi-layered song from scratch. One on hand, the song serves as a fantasy for Selma as she sits in the courtroom while people decide her fate. On another, its a 50s style musical number, the likes of which have not been seen ever. On yet another, its a spiritual hymn thats both uplifting and devastating in its' simplicity. I was awestruck the first time I saw this on screen, and the faithful reproduction on CD is wonderful. Look out for the Gene Kelly-style dance interlude.
6. 107 Steps : If you've seen the film, you'll know what happens during this sequence. I can't help skip this track, although beautifully rendered as it brings back too many memories of the film and I am afraid I do not have the strength to sit through those emotions a second time. 'Dancer in the Dark' is the most powerful movie I have ever seen.
7. New World : The best song Björk has ever recorded. Period. Listeners have noticed that this song is actually 'The Next to last song' with instrumentation and a different meter and placing. Its a soaring ballad, sung from the point of view of a blind woman. Her imagery and sense of perception are so touching and heartbreaking. When the chorus soars as Bjork wraps up the second verse, you know that this is what music is all about. Its not about Madonna, or Eminem or Rolling Stone. Its about being able to breathe and live yourself through your music, and Bjork has done that with this CD. Brilliant and a masterpiece.
I initially agreed that this CD was overpriced, but I have come to realize that it is well worth the full price of the album. A small price to pay for such a divine gift. Stunning, a work of art.
Free Music Review: Stunning Hyper Kenetic Showtunes
Hit: 5 Stars
elmasongs is the EP/Soundtrack to the stunning Lars Van Trier movie Dancer In The Dark, starring Bjork as a poor, factory worker Czech immigrant to the American Northwest, who is slowly going blind. She has to support herself, and her son, who without an operation, will suffer the same fate that she does.
Her refuge from her sad and tragic life is the fantasies in her head about being the star of American Musicals. Its her own "Secret Life of Walter Mitty"
A set of tragic mishaps and circumstance, Selma is thrown into horrible, gutwrenching freefall with catastrophic results.
Selmasongs represents the musical tale of the story, the fantasies in Selma's head and it(like all bjork works of art) runs the gamut of emotion from heartbreaking tragedy, to ecstatic joy, to majestic beauty.
There's probably only one small complaint about Selmasongs..is that it clocks in at barely a half an hour. Also I think it would have been nice to include the ORIGINAL versions of the songs from the film on to soundtrack instead of the slightly altered versions presented here. Also missing is Selma's/Bjorks heartbreaking version of "My Favorite Things" from the Sound of Music.
A musical is logical progression for Bjork. She has an eclectic musical past. From the rock of the sugarcubes, the jazz ensemble Gling-Glo, her solo electronic based work, and her orchestral string work on the Homogenic album. However Strings dominated Homogenic, Bjork is in full command of an entire orchestra including brass, woodwinds and timpani, along with stringed instruments. This makes for captivating and inventive soundscapes next to sampled found percussion and electronic beats on the soundtrack.
Overture is a majestic orchestral instrumental that opens the both the film and the album. A beautiful 3 minute and 38 second mini opus with dramatic horns and timpani. Filled with highs and lows, quiet and loud, using the full dynamic range. Breathtaking.
Cvalda is "Its So Quiet" from Post on an adrenaline rush. Post-Industrial-Showtune music? A magical, whimsical, joyful tune featuring French actress extraordinaire Cathrine Denevue. Only Bjork could pull off a genre mash like this, and its amazing. The buzzing and clanging of factory machines turn into percussion, over a technicolor 1940s Vincent Minelli showtune score.
I've Seen It All is the beautiful ballad from the film, featuring Thom Yorke from Radiohead. Its everything you would think if your a fan of both artists, simply stunning. This time train tracks and train noises become the percussive base of this ballad. Trademark lyrical Bjork brilliance is still at work. "what about china, have you seen the great wall/ all walls are great if the roof doesnt fall"
Scatterheart is a song that worked better in the film than it does here on the album. I miss the duet between Selma and her son, and would have preferred that version. Here its just Bjork singing. Though the electronic percussion and bursts of noises and clicks are vintage Homogenic, while the bassline and arrangement would sound perfect on Debut. Its a decent song, but the movie version blows the album version away.
In The Musicals is another showtune on adrenaline, and once again its a great number. The song sums up the fantasy part of the movie..."theres always there to catch me" In Selmas head, her musicals always have a happy ending, with her as the hero, getting saved in the nick of time. Bjork dilivers a great vocal performance...its not all bombast..but she can pull back to be delicate and quiet.
107 Steps really doesnt work outside of the movie. You have to know exactly whats going on in the scene to know whats going on. Like the rest of the album, I love the experimental found sound percussion and shuffling bursts of noise and industrial noises. It just feels out of context o the movie.
New World Takes the Overture from the beginning and turns it into a lyrical tour de force finale. Bjorks beautiful vocals, over electronic bursts of noise beats, and a beautiful orchestral score. Just like on Homogenic, the album had its dark spots, but Bjork leaves us with a sense of optimism.
Its a shame you cant give half stars, because I would give the amazing Dancer In The Dark 4.5
Free Music Review: Everyone Should Hear To This
Hit: 5 Stars
Confessions I have to make before I write this review are multiple: 1) I was a Bjork fan long before "Dancer In The Dark" was released; 2) "Dancer In The Dark" is one of my favourite films ever; and 3) it is hard for me not to shine Bjork's tiny shoes whenever I proceed to talk about her. That said, "SelmaSongs" really is something else when it comes to movie soundtracks: it is here where Bjork really 'acts' as Selma from the film, composing songs that she is never accustomed to concocting on her albums, and delivering a valuable clutch of songs so beautiful and so un-Hollywood it is impossible not to be thrown by them. An Oscar for 'Best Original Score' wouldn't have gone amiss, now would it?Album contains seven of the nine songs in the film, beginning with the atmospheric "Overture", all big brass and powerful drums that confirms Bjork's ability to compose for a full-blown orchestra as well as a mixing machine. This is swiftly followed by "Cvalda", Bjork's duet with Catherine Deneuve, beginning audaciously with rythymic 'whirrs' and 'clatters' until seguing into the silly, infectiously fun number. The Oscar-nominated "I've Seen It All" sees Bjork delve into a more ominous soundscape for a romantic duet with Radiohead's Thom Yorke. "Scatterheart" follows, full of menacing strings, jerky beats and Bjork's illuminating and versatile vocals. The favourite of the film squeaks around the corner straight after in "In The Musicals", all squeaks, bounces and rousing strings providing a heady mix of overwhelming pleasure. "107 Steps" reunites Bjork with Siobhan Fallon, the only other cast member to make it to the album, to count the steps toward Selma's fate with a song by turns sad, uplifting and, Bjork being Bjork, audacious at the same time. The finale, "New World", echoes the opening "Overture" and is purely too good for words ... okay, if this was up for the Oscar, Bob Dylan or not, Bjork would have won it.
That said, "SelmaSongs" isn't a word-for-word rehash of the musical interludes of "Dancer In The Dark". The first difference is Thom Yorke's increased presence on "I've Seen It All", singing a few of Selma's lyrics as well as all of Peter Stormare's Jeff's. Another is "Scatterheart", whose opening minute is the only part that bears resemblance to the film's version, "Smith & Wesson", both David Morse and Cara Seymour tellingly missing and the lyrics all totally changed. Fans of the film will be disappointed with "In The Musicals", as it is Bjork's original concept as opposed to the musical conversation that takes place in the film between Selma and Oldrich Novy. And "107 Steps" carries on for another 31 steps (not a bad thing, but there you go). Reasons: Bjork has said she feels better working with musically-experienced pros as opposed to actors on her songs, and many of the songs were edited for the film, both "Scatterheart" and "107 Steps'" gorgeous codas ommitted in the final mix. Either way, what the CD has is beautiful in itself, and nothing is lost.
Another thing: both "My Favourite Things" and "Next To Last Song" aren't on this compilation, despite their dramatic presence in the film. I can think of reasons for both of their being missing: 1) "My Favourite Things" would have meant giving the guys behind "The Sound Of Music" a bit more money than most; 2) "Next To Last Song" was the song Selma didn't hold for herself, singing it for the whole world to hear; 3) if they gave you all of the music on the CD, you might not buy the film! In any case, buy both.
Free Music Review: Björk does it again and pulls out a great album.
Hit: 5 Stars
This album is certainly a strong departure from the heavily electronic sounds of the wonderful "homogenic" to a much more "Broadway-musical" scene. But make no mistake, this album has all the things that have made Björk so great. However I would suggest that before you buy it you watch the movie first (I've seen it 3 times already). It will give you a much better understanding of the album and you'll appreciate it much more. I bought it before seeing the movie and I liked the album but I absolutely loved it after the movie. The album starts off (like the movie) with "Overture" which is a purely instrumental song. The next song, "Cvlada", is absolutely brilliant with the music being generated trough the noises in a factory. And Catherine Deneuve does a pretty good job in this song although her voice can't be compared to Björk's. Afterwards you'll see the Oscar-nominated "I've seen it all". Once again the song is born from ambient sounds being in this case a train. Many Björk fans will find this song particularly interesting as it's sang by both Björk and Radiohead's vocalist Thom Yorke and as many of you know a lot of people that like Björk like Radiohead. Afterwards you have "Scatterheart" which is much more electronic than the previous songs. The lyrics on the song are quite different from those in the movie but it's a fantastic song nevertheless. "In the musicals" sounds just like its name: A song from a musical but with an excellent percussion and very interesting changes in rhythm. 107 steps is absolutely wonderful. The synchronisation between the woman on the background counting from 1-107 and Björk singing specific numbers is fabulous. The album closes with "New world" which is based on the rhythm of "Overture" but with percussion, electronic sounds and Björk's lyrics. I personally regard it as one of the best on the album with an impeccable instrumentation and outstanding vocals.Some people have complained about the album being too short. Though it's some 37 minutes long (If I'm not mistaken) I believe that on the quality aspect there's nothing to complain about it. Maybe if Björk had decided to produce a less "cleaner" album she could have added the movie version of "Scatterheart" as I personally love the part when she sings "...the time it takes a tear to fall, a snake to shed it's skin, it's all the time that's needed to forgive me...". She could have also added the song about "a few of my favourite things" and the "next to last song" would certainly bring tears to my eyes every time I listened to it.
But like I mentioned earlier, I strongly recommend that you watch the movie first (Which is one of the best movies I've seen in a very long time) and when you exit the theatre buy the CD and I assure you that you'll enjoy it a lot as you'll understand both the lyrics and the sounds of the album. However, if you're not going to see the movie, you'll be missing out on a fantastic movie but you should buy the album anyway. But I can tell you from personal experience that it doesn't sound half as good as it sounds after you've seen it.
Free Music Review: Not the whole story, but perfect nonetheless...
Hit: 5 Stars
As I was sitting in the theatre, watching Dancer in the Dark, I knew I couldn't help myself from buying Selmasongs, I knew it wouldn't be right to even try to. The music in Von Trier's movie is beautiful, and determined to deliver: it throws itself at you, and you can't help loving it (especially if you know and support Björk's previous albums). So, as I said, I was compelled to buy it.I didn't get too far into the listening before I realized that the CD I had brought home from the record store was in many ways different from the "real" score of Dancer in the Dark. I was puzzled for about one second, when it finally stroke me that the omissions and variations to the soundtrack could be rationally motivated:
(1)first of all, it was obviously in the record company's own interest that the album be self-standing, likely to please not only those who would go see the movie, but a more general public (mostly made up of Björk fans, I suppose);
(2)secondly, if no one was to know what the movie was going to be about before its release (as Von Trier demanded), Selmasongs - available in stores no less than a month before the movie was out - had to be vague enough to not give the movie's ending away.
I was tickled by my discovery, and I appreciated the sense of humour behind the marketing process of Von Trier's film. Selmasongs, as I see it, (quite ironically) was an "appetizer," a simplified version of the real thing - beautiful no less, but undeniably incomplete.
This point needs to be clear: from a strictly musical (i.e. "instrumental") point of view, Selmasongs is completely untainted... What differs is: the lyrics to some of the songs, their length, and - very important - the number of performing "voices." I don't want to be misunderstood: the music on the record is so powerful anyone will find it hard to resist its charm, and - for those of us who did see the film - it serves its purpose just fine: it brings Dancer in the Dark back to life. Selmasongs is a great album and it will make any competent listener happy. That's why I have no doubt about it fully deserving five stars.
However, I feel that more could and should be drawn from the movie, especially now that there's nothing left to "hide." In other words, I think Björk's score, as we hear it in the theatre, should also be made available on CD. No doubt it would be harder to listen to, particularly for those who choose not to see the movie, but it would gain in expressiveness, complexity, and, consequently, profoundness. The chorus singing in "I Have Seen It All," the duets in "Scatterheart" and "In the Musicals," as well as the "Next to Last Song" as a whole, need to get the attention they deserve. I feel only the real and yet unpublished soundtrack of Dancer in the Dark could truly put Björk in the limelight of contemporary "story-telling through music."
(A question for those Americans who got a chance to see Dancer in the Dark: what do you think about it and particularly its ending? I would really like to find out whether Americans support the you know what or not...)