AAC-M4A download link: - https://www.mediafire.com/file/qz1w8dr19643i9a/ - Bjork - Crans-sur-Sierre, Switzerland
12th March 2013
NEW MOON CONCERT
Lineage: Tascam DR-07 mkII - built-in mics - wav 16/44.1 - mastering - flac
recorded, mastered and seeded by zionpower
for free trade only
CD cover curtsy of benjicoq. some pictures www.bjork.fr + flickr https://www.flickr.com/photos/snikolaev/albums/72157633039875236 - (c) svetlin nikolaev.
björk - svetlin nikolaev, super high resolution caprices festival, crans-montana, switzerland concert tour photos link: - https://www.flickr.com/photos/snikolaev/
re-encoded to AAC-M4A [superiour björklossless sound] by
01. Solar Winds
13. Pagan Poetry
14. Mutual Core
Icelandic bard occurred Monday Caprices, before the electronic wizard Amon Tobin. Two experimental proposals, but unifying
It comes on stage with crazy hair like flame, dealing with aqueous voice of a full female choir. Above, curious organ timber mix their breaths. And the rhythmic mid-synthetic mid-acoustic, are scolding basements heavy stones, somewhere between tectonic plates. Fire, water, air and earth. Four elements for an eternal priestess of musical tomorrow. Monday to Caprices Festival in Crans-Montana, Björk deployed its pop which is not really, its swarming refrains staggered instinctive but never intuitive. The singer wants as nature: familiar, unpredictable. Historically, this is its strength and artifice.
Björk, 47, has made reference; his name belongs to the galaxy of artists (Thom Yorke, David Bowie) who gravitate exactly between the orbits of the popular and experimentation. Each of his appearances takes prophetic dimensions. Perhaps the audience of Caprices Was not packed Monday night, perhaps the public was there listening quiet middle rather than swerving teen age, but the mere presence of the artist enough to give particular credit to this tenth edition of the festival.
Yes, it has a presence Icelandic rock star, a power back, disguised as vulnerability, which captivates the crowd in the palm of some suspended vocalizations. What is striking is the frugality of instrumental device. Percussionist reign over a world of bells and marimbas. Some synthesizers and computer lend their strike force reinforcement. But it is especially the impressive work tracery of the chancel, set with sequins color pond, which gives consistency to the whole, whose aesthetic delicate and flexible stems directly from the last studio album of the singer, Biophilia . A world driven by highly organic visual video, in which the cells are singing their mitochondria, fungi grow as choreography and moons play beacons.
The best part is these moments when the voices of women form radiating clouds ("Isobel"), these passages in which Björk deposits its bare patch again and again childish, low on telluric ("Crystalline"), or reinterpretation of some tube before to suit the instrumentarium of Biophilia ("Pagan Poetry").
And then there are those symbolic moments during the hit "Joga", which saw the original video dive into the body of Björk and join an inner island with a lot of graphics, or the swirling DNA coils into three dimensions, excerpts from recent "Hollow". Further clinical robots "All is full of love", Björk invents post-science-fiction icon in reconciling its avant-garde nature and technology, and voice sampling, acoustic and electronic. A way to get sharp as it is accessible, and gradually timeless.
source: The Times. http://gudmundsdottirbjork.blogspot.com/