Thursday, 25 September 2014

Björk - The Juniper Tree - A Dark Tale Of Witchcraft & Mysticism (1984) - [AAC-M4A]






AAC-M4A download link: - https://www.mediafire.com/?249o93cada5462w https://cdnsecakmi.kaltura.com/p/842292/sp/84229200/thumbnail/entry_id/1_45y1ex8u/version/100007/width/1000/height/564 - http://en.wikipedia.org/wiki/The_Juniper_Tree_(film)
[AUDIO SOUND FROM THE FILM ONLY, NOT FOOTAGE] The Juniper Tree (film)
From Wikipedia, the free encyclopedia
The Juniper Tree
The Juniper Tree.jpg
Directed by Nietzchka Keene
Produced by Nietzchka Keene
Written by Nietzchka Keene
Starring Björk Guðmundsdóttir
Bryndis Petra Bragadóttir
Guðrún Gísladóttir
Valdimar Örn Flygenring
Geirlaug Sunna Þormar
Music by Larry Lipkis
Cinematography Randolph Sellars
Edited by Nietzchka Keene
Distributed by Rhino Home Video
Release dates US: 10 April 1990
Iceland: 12 February 1993
Running time 78 minutes approx.
Country Iceland
United States
Language English
The Juniper Tree is a 1990 Icelandic film with a small cast of five actors, Björk, Bryndis Petra Bragadóttir, Guðrún S. Gísladóttir, Valdimar Örn Flygenring and introducing Geirlaug Sunna Þormar. It was written and directed by Nietzchka Keene and based on the fairy tale "The Juniper Tree" collected by the Brothers Grimm.

The film was shot in Iceland with an extraordinarily small budget in the summer of 1986, but because of financial problems later on in the editing room it was not released until 1990, when it screened for the "Grand Jury Prize" at the Sundance Film Festival. Rhino Home Video released the film on VHS in 1995 and on DVD in 2002.

Contents  [hide] 
1 Plot
2 Comments review
3 Credits
4 DVDs technical data
4.1 US DVD
4.2 Japanese DVD
5 External links
Plot[edit]
The Juniper Tree is set in Iceland and portrays the story of two sisters, Margit (Björk Guðmundsdóttir) and her elder sister Katla (Bryndis Petra Bragadóttir), who escape their home after their mother (Guðrún S. Gísladóttir) is stoned and burned for witchcraft. They go where no one knows them, and find Jóhann (Valdimar Örn Flygenring), a young widower who has a son called Jónas (Geirlaug Sunna Þormar). Katla uses magical powers to seduce Jóhann and they start living together. Margit and Jónas become friends. However, Jónas does not accept Katla as his stepmother and tries to convince his father to leave her. Katla's magic power is too strong and even though he knows he should leave her, he can't. Margit's mother appears to her in visions and Jónas' mother appears as a raven and to bring him a magical feather.

Comments review[edit]
Labeled as a fairy tale, science-fiction, fantasy, drama or art house film, The Juniper Tree was shot in black and white to highlight its dramatic content and as a resource to place the story in the Middle Ages. This film has become famous among Björk's admirers after she gained international renown by the early nineties[citation needed]. Despite some critics remarks about the protagonists' performances[citation needed], some reviewers consider it is a good film in terms of the screenplay and cinematography.[citation needed]

Credits[edit]
Director: Nietzchka Keene
Producer: Nietzchka Keene
Assistant producer: Allison Powell
Cinematography: Randolph Sellars
Film editor: Nietzchka Keene
Art director: Dominique Polain
Assistant art director: Ólafur Engilbertsson
Costume design: Nanna Luisa Zophaniasdóttir
Composer: Larry Lipkis
Sound recording: Patrick Moyroud
Sound re-recording mix: Jeffrey Perkins
Sound assistant: Helgi Sverrisson
Special effects: Dominique Polain
Special effects (makeup): Élin Sverrisdóttir
Stunt: rider: Ásta Pálmadóttir
Gaffer: Robert Field
Bird trainer: Þorleifur Geirsson
Still photography: Róbert Guillemette
Assistant camera: Halldór Gunnarsson
Production assistant: Nicole Hanset
Pre-production office: Alix Jackson and Julia Parker
Folk music collector: Helga Jóhannsdóttir
Herbal consultant: Helga Mogensen
Craft consultant: Elizabeth Rowe
Catering: Solveig Gissel Stáhl
Nursery consultant: Ásgeir Svanbergsson
DVDs technical data[edit]
US DVD[edit]
Date of release: 23 April 2002
Distributor: Rhino Home Video
Region: 1 NTSC
Subtitles: N/A
Audio: English
Sound: Stereo Sound
Aspect ratio: 1.33:1 of the original film presentation
Chapter Stops: 12
DVD packaging: Amaray Keep Case
Extras: a 15-minute director Interview, about 3 minutes of deleted scenes accompanied by director’s comments, and about 3 minutes of slide show of promotional photographs.
Japanese DVD[edit]
Date of release: 10 February 2001
Distributor: unknown
Price: ¥2,940
Region: 2 NTSC
Subtitles: Japanese
Audio: English, Japanese (dubbed)
Sound: Stereo Sound
Aspect ratio: 1.33:1 of the original film presentation
Chapter Stops: 9
DVD packaging: Amaray Keep Case
Extras: Original trailer (about 2 minutes) and Japanese trailer (about 1 minute). The Juniper Tree Is A 1990 Black And White Icelandic Nordic Film With A Small Cast Of Five Actors, Björk Guðmundsdóttir, Bryndis Petra Bragadóttir, Guðrún S. Gísladóttir, Valdimar Örn Flygenring, And Introducing Geirlaug Sunna Þormar. It Was Written And Directed By Nietzchka Keene, And Based On The Fairy Tale "The Juniper Tree" Collected By The Brothers Grimm, The Film Was Shot In The Nordic Raw Rugged Volcanic Ash Landscape Of Iceland, Björk's Native Homeland, With An Extraordinary Small Budget In The Summer Of 1986, But Because Of Financial Problems Later On In The Editing Room It Was Not Released Until 1990, When It Screened For The "Grand Jury Prize" At The Sundance Film Festival. Rhino Home Video Released The Film On VHS In 1995 - (This Very Rare VHS) - And On DVD In 2002. Film Plot: This Film Portrays The Story Of Two Sisters, Margit, (Björk Guðmundsdóttir), And Her Elder Sister Katla, (Bryndis Petra Bragadóttir), Who Escape Their Home After Their Mother (Guðrún S. Gísladóttir), Is Stoned And Burned For Witchcraft. They Go Where No One Knows Them, And Find Jóhann, (Valdimar Örn Flygenring), A Young Widower Who Has A Son Called Jónas, (Geirlaug Sunna Þormar). Katla, Uses Magical Powers To Seduce Jóhann, And They Start Living Together. Margit, And Jónas, Become Friends. However, Jónas, Does Not Accept Katla, As His Stepmother And Tries To Convince His Father To Leave Her. Katla's Magic Power Is Too Strong And Even Though He Knows He Should Leave Her, He Can't. Margit's Mother Appears To Her In Visions And Jónas, Mother Appears A Raven And To Bring Him A Magical Feather.

re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/

Tuesday, 23 September 2014

Björk + Ísadóra Bjarkardóttir Barney - Live @ Coachella Valley Music + Arts Festival, California Desert, Indio, USA, April, 27th (04-27-2002) (Full) - [AAC-M4A]







AAC-M4A download link: - https://www.mediafire.com/?auopu3febjto249 - Björk + Ísadóra Bjarkardóttir Barney
Live @  
Coachella Valley Music + Arts Festival, 
California Desert,  
Indio, USA,
April, 27th  
(04-27-2002)
[camcorder audio dvd-r master rip] 
[Björk + Ísadóra Bjarkardóttir Barney, Goosebumps !!]
Setlist:
01. All Is Full Of Love 
02. Cocoon 
03. Jóga 
04. Generous Palmstroke 
05. Hunter 
06. Pagan Poetry 
07. Five Years 
08. Isobel 
09. Gotham Lullaby *
10. Heirloom 
11. Bachelorette 
12. Army of Me 
13. Human Behaviour 
14. It’s in Our Hands 
15. Pluto

re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/
pictures curtsy of www.bjorkish.net + www.bjork.fr

Monday, 22 September 2014

Björk - Live @ Plaza de Toros de Las Ventas, Madrid, Spain, July, 18th (07-18-2007) (Full) - [AAC-M4A]







AAC-M4A download link: - https://www.mediafire.com/?bxghwlo79qorfy0 - Björk:
2007-07-18
Live @ Plaza de Toros de las Ventas
Madrid Spain

[Camcorder Audio]

Setlist:

01. Earth Intruders
02. Hunter
03. Hidden Place
04. Pagan Poetry
05. Aeroplane
06. The Pleasure Is All Mine
07. Jóga
08. Immature
09. Army Of Me
10. Innocence
11. I Miss You
12. Wanderlust
13. Mother Heroic *
14. Bachelorette
15. Hyperballad
16. Pluto
17. [Encore Break]
18. [Band Introductions & Thanks To Spain]
19. Oceania
20. Declare Independence
21. (Reactable Solo)
CD cover curtsy of benjicoq. tour pictures curtsy of www.bjork.fr + www.bjorkish.net re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/










Saturday, 20 September 2014

Björk - Live @ Russia, Moscow Arena, July, 17th (07-17-2003) (Full) - [AAC-M4A]








AAC-M4A download link: - https://www.mediafire.com/?s25c099g9el1z08 - Björk:
Live @
Moscow Arena,
Russia, July, 17th
(07-17-2003)
Excellent Audience Sound
[full DVD-R rip]

Setlist: 
01. I’ve Seen It All
02. Hunter
03. Five Years
04. Scary *
05. Jóga
06. All Is Full Of Love
07. Desired Constellation
08. Heirloom
09. Nameless/Storm
10. An Echo, A Stain
11. Where Is The Line_
12. Unravel
13. Pagan Poetry
14. Bachelorette
15. It's In Our Hands (SPT Mix)
16. Hyperballad
17. Pluto
Encores:
18. Generous Palmstroke
19. Human Behaviour
20. Interviews (Russian) 
CD covers curtsy of benjicoq. pictures curtsy of www.bjork.fr + www.bjorkish.net
re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/

Thursday, 18 September 2014

Björk - Live @ Hammerstein Ballroom, New York City, USA, NYC, (1st Night) May, 11th (11-05-1998) - [AAC-M4A]








AAC-M4A download link: - https://www.mediafire.com/?k5rq4zb1z0tf18h - Björk:
Live @ Hammerstein Ballroom,
New York City, USA, NYC, 
11th May, (1st Night)
(11-05-1998)

Setlist:

01. Headphones
02. Hunter
03. You've been Flirting Again
04. Isobel
05. All Neon Like
06. Possibly Maybe
07. Immature
08. Come To Me
09. Five Years
10. Venus As A Boy
11. Bachelorette
12. Human Behaviour
13. Violently Happy
14. Hyperballad
15. Pluto
Encore:
16. Jóga
17. Play Dead

Total Time:
1:17:41

Reviews
Sagas of the Future from the Icelandic Diva

With her forehead and the bridge of her nose painted white and her matching vinyl dress equipped with pleated wings, Björk Guðmundsdóttir accomplished her latest metamorphosis at the Hammerstein Ballroom Monday night. “I don’t recognize myself,” sang the cutting-edge Icelandic diva as an eight- piece string section conjured a lush grove entangled by the beats and blips emerging from Mark Bell’s bank of machines. “This is very interesting.”

Exploring the mutations of the human experience is Björk’s prime directive as an artist. She has become one of pop’s primary musical innovators by connecting electronic dance music to vocal traditions ranging from folk ballads to torch songs. Her latest album, “Homogenic” (Elektra), surprised the seemingly indefatigable dance-club crowd with meditative tracks that forced listeners to sit down and look inward.

For much of her set she continued in this quiet vein, letting the strings and Mr. Bell’s carefully constructed soundscapes guide her vocal phrasing. She sang of being nourished by the music’s soft distortion ; in “Explode,” her scratchy wail seemed to merge with Mr. Bell’s machines. Older songs, like “Isobel,” were stretched out into shapes dictated by the string section, with the circular dance beats submerged in the mix.

This mysterious marriage of elements complemented Bjork’s carefully modulated yet raw singing style. She moved outside the usual structures of verse-chorus-verse, trying both repetition and distended vocal lines to get at more complicated emotional narratives. Material from her first album, 1993’s “Debut,” offered dance-club fare that was more easily understood but ultimately less intriguing.

Her music’s evolution has served Bjork’s thematic focus. She is a student of modern mythology, connecting ancient folkloric subjects to futuristic scenarios. Her lyrics often recall science fiction or rustic tales, echoing the music’s blend of old folk melodies and hi-tech rhythms. Bodies burst ; hearts unravel into skeins of yarn ; Bjork throws car parts and cutlery off a mountaintop at dawn, the controlled chaos of their fall making her feel safe enough to live at such a great height. These little fables trace the internal aspects of her journey through a landscape in which the timeless—intense emotion and the wisdom of tradition—meshes with the new.

For this show, Björk created a habitat that evoked the music’s journey to the center of her mind. A filmy backdrop with shards of color sewn in, augmented by ribbons of cellophane, served as a screen for watery, abstract projected images. The effect was both ethereal, causing a dreamy mood, and fleshly, as if these images were coming from inside someone’s body.

Refusing to separate the carnal, the psychological and the supernatural in the same way that she disregards differences in musical genres, Björk creates a total environment. Entering into it is always a heady experience. On Monday night the crowd was prepared by the winsome electronics of Mu-Ziq (Mike Paradinas). Still, when Björk took the stage and spread her synthetic wings, the atmosphere utterly belonged to her.

Ann Powers - New York Times

The Luminous Beam

“State of emergency is where I want to be,” Björk sang over and over in her encore at Hammerstein Ballroom last week, but that’s just where she’d been for the previous hour and a half. Working her vocal range like a DJ scratching and fading vinyl, she never merely sang, she shaped noise. She shouted, she whispered, she crooned, she shredded lyrics and rewove them in midair. She moved beyond language, beyond words to create a buzzing, burbling, weirdly thrilling soundscape—a place you could lose yourself in for days. “I don’t recognize myself,” she sang, and we knew just what she meant.

In a funny little white leather Jeremy Scott dress with pleated, bat-wing sleeves, she was Alice in Wonderland as Merlin the Magician, lost in spaces that only she could have imagined. Björk has always seemed to inhabit a world of her own, part twee fantasyland, part gnarly fun house. For the Hammerstein show, the stage was transformed into an underwater scene with a backdrop of flimsy scarves that fluttered like seaweed. Foaming billows of cellophane hung high above the singer, clear streamers dangled around her, and she bobbed before liquid projections. But because Björk is not entirely at home in swoony psychedelia, the tranquilized mood was repeatedly undercut by blackouts and shattered by harsh spotlights trained out into the audience. Björk thrives in this gap between comfort and unease, sweet and sour, lulling us and jolting us by turns. She knows the drama of extremes and the excitement when they mesh. On one side of the stage was an atoll of strings ; on the other, Mark Bell and a craggy mountain of synthesizers. Scampering between them, Björk appeared to mix sound with a wave of her wings, sending jagged keyboard shards crunching through the violins like a crosscut saw through silk.

“I thought I could organize freedom/How Scandinavian of me,” Björk confesses in “Hunter,” and clearly she’s learned to let go. But, onstage and on her records, she’s also learned how to turn chaos to her own ends. She wills herself to lose control. She strides into a song tentatively, or forcefully, then lets it take her and toss her voice every which way. Listening to her, the rush of release is exhilaratingly physical ; watching her, you long to be equally possessed. But if Björk’s hyperemotionality edges into gorgeous mess, it never goes there. She might skewer her songs with raw, crashing synths, but her vocals remain meticulously orchestrated, operatic even when frayed. This tiny gamine, buffeted by sweet cacophony at center stage, only rides a whirlwind when she can hold the reins real tight.

Because she sings about transformation, metamorphosis, it often comes as a surprise that Björk’s also singing love songs. Even when you pay close attention, the songs tend to dissolve and bubble away, leaving phrases to float through the brain : “Don’t get angry with yourself,” “emotional landscapes,” “You can’t handle love.” One song on her latest album, Homogenic (Elektra), is composed entirely of what seem to be overheard quotes, most memorably “I’m no fucking Buddhist but this is enlightenment.” No matter. Björk turns words into atmosphere—bursts of sensibility that use language as freely as they use sound. In “5 Years,” when she bites into the line “I’m so bored of cowards,” her anger is bracing ; she turns the word cowards into a chewed-up piece of garbage and tosses it into a pot of boiling synths. In “All Neon Like,” she promises, “I’ll heal you,” but follows it, “with a razorblade, I’ll cut a slit open and the luminous beam feeds you honey.” Her luminous has nearly eight shimmering syllables. Tossed on wave upon wave of now brittle, now honeyed synth combustions and those impossibly lovely strings, Björk’s lyrics are as ephemeral as smoke, as vivid as a lightning bolt—and sometimes as illuminating.

“Excuse me, but I just have to explode this body,” she tells us, matter-of-factly. Go on, girl. She already knows how to explode a song. At the Hammerstein, she could have been Liza Minelli channeling Lotte Lenya, tossing out crisp little Thank yous in between flights of speaking in tongues. She’s Venus as a girl— or a mermaid, a sprite, a friendly alien. She’s the smallest thing onstage, but she fills the whole room. Who could imagine this ? Perhaps only someone yearning to be violently happy and create a soundtrack for the neverending process.

Vince Aletti - The Village Voice
some pictures curtsy of www.bjork.fr
re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/

Wednesday, 17 September 2014

Björk - Live @ Hammerstein Ballroom, New York City, USA, NYC, (2nd Night) May, 12th (12-05-1998) - [AAC-M4A]




AAC-M4A download link: - https://www.mediafire.com/?ig2ra4ql5rrf4o4 - Björk:
Live @ Hammerstein Ballroom,
New York City, USA, NYC, 
12th May, (2nd Night)
(12-05-1998)

Rehearsal Soundcheck + Show Setlist:
01. Isobel (Rehearsal Soundcheck) (2nd Night) May, 12th (12-05-1998)
02. All Neon Like (Rehearsal Soundcheck) (2nd Night) May, 12th (12-05-1998)
03. All Neon Like (2nd Rehearsal Soundcheck) (2nd Night) May, 12th (12-05-1998)
01. Intro 
02. Headphones 
03. Hunter 
04. You've Been Flirting Again 
05. Isobel 
06. All Neon Like 
07. Possibly Maybe 
08. Immature 
09. Come To Me 
10. Five Years 
11. Venus As A Boy 
12. Bachelorette 
13. Human Behavior 
14. Violently Happy 
15. Hyperballad 
16. Pluto 
Encore: 
17. Jóga 
18. Play Dead
note: [review from the 1st night (11-05-1998) Sagas of the Future from the Icelandic Diva
With her forehead and the bridge of her nose painted white and her matching vinyl dress equipped with pleated wings, Björk Guðmundsdóttir accomplished her latest metamorphosis at the Hammerstein Ballroom Monday night. “I don’t recognize myself,” sang the cutting-edge Icelandic diva as an eight- piece string section conjured a lush grove entangled by the beats and blips emerging from Mark Bell’s bank of machines. “This is very interesting.”
Exploring the mutations of the human experience is Björk’s prime directive as an artist. She has become one of pop’s primary musical innovators by connecting electronic dance music to vocal traditions ranging from folk ballads to torch songs. Her latest album, “Homogenic” (Elektra), surprised the seemingly indefatigable dance-club crowd with meditative tracks that forced listeners to sit down and look inward.
For much of her set she continued in this quiet vein, letting the strings and Mr. Bell’s carefully constructed soundscapes guide her vocal phrasing. She sang of being nourished by the music’s soft distortion ; in “Explode,” her scratchy wail seemed to merge with Mr. Bell’s machines. Older songs, like “Isobel,” were stretched out into shapes dictated by the string section, with the circular dance beats submerged in the mix.
This mysterious marriage of elements complemented Bjork’s carefully modulated yet raw singing style. She moved outside the usual structures of verse-chorus-verse, trying both repetition and distended vocal lines to get at more complicated emotional narratives. Material from her first album, 1993’s “Debut,” offered dance-club fare that was more easily understood but ultimately less intriguing.
Her music’s evolution has served Bjork’s thematic focus. She is a student of modern mythology, connecting ancient folkloric subjects to futuristic scenarios. Her lyrics often recall science fiction or rustic tales, echoing the music’s blend of old folk melodies and hi-tech rhythms. Bodies burst ; hearts unravel into skeins of yarn ; Bjork throws car parts and cutlery off a mountaintop at dawn, the controlled chaos of their fall making her feel safe enough to live at such a great height. These little fables trace the internal aspects of her journey through a landscape in which the timeless—intense emotion and the wisdom of tradition—meshes with the new.
For this show, Björk created a habitat that evoked the music’s journey to the center of her mind. A filmy backdrop with shards of color sewn in, augmented by ribbons of cellophane, served as a screen for watery, abstract projected images. The effect was both ethereal, causing a dreamy mood, and fleshly, as if these images were coming from inside someone’s body.
Refusing to separate the carnal, the psychological and the supernatural in the same way that she disregards differences in musical genres, Björk creates a total environment. Entering into it is always a heady experience. On Monday night the crowd was prepared by the winsome electronics of Mu-Ziq (Mike Paradinas). Still, when Björk took the stage and spread her synthetic wings, the atmosphere utterly belonged to her.
Ann Powers - New York Times
The Luminous Beam
“State of emergency is where I want to be,” Björk sang over and over in her encore at Hammerstein Ballroom last week, but that’s just where she’d been for the previous hour and a half. Working her vocal range like a DJ scratching and fading vinyl, she never merely sang, she shaped noise. She shouted, she whispered, she crooned, she shredded lyrics and rewove them in midair. She moved beyond language, beyond words to create a buzzing, burbling, weirdly thrilling soundscape—a place you could lose yourself in for days. “I don’t recognize myself,” she sang, and we knew just what she meant.
In a funny little white leather Jeremy Scott dress with pleated, bat-wing sleeves, she was Alice in Wonderland as Merlin the Magician, lost in spaces that only she could have imagined. Björk has always seemed to inhabit a world of her own, part twee fantasyland, part gnarly fun house. For the Hammerstein show, the stage was transformed into an underwater scene with a backdrop of flimsy scarves that fluttered like seaweed. Foaming billows of cellophane hung high above the singer, clear streamers dangled around her, and she bobbed before liquid projections. But because Björk is not entirely at home in swoony psychedelia, the tranquilized mood was repeatedly undercut by blackouts and shattered by harsh spotlights trained out into the audience. Björk thrives in this gap between comfort and unease, sweet and sour, lulling us and jolting us by turns. She knows the drama of extremes and the excitement when they mesh. On one side of the stage was an atoll of strings ; on the other, Mark Bell and a craggy mountain of synthesizers. Scampering between them, Björk appeared to mix sound with a wave of her wings, sending jagged keyboard shards crunching through the violins like a crosscut saw through silk.
“I thought I could organize freedom/How Scandinavian of me,” Björk confesses in “Hunter,” and clearly she’s learned to let go. But, onstage and on her records, she’s also learned how to turn chaos to her own ends. She wills herself to lose control. She strides into a song tentatively, or forcefully, then lets it take her and toss her voice every which way. Listening to her, the rush of release is exhilaratingly physical ; watching her, you long to be equally possessed. But if Björk’s hyperemotionality edges into gorgeous mess, it never goes there. She might skewer her songs with raw, crashing synths, but her vocals remain meticulously orchestrated, operatic even when frayed. This tiny gamine, buffeted by sweet cacophony at center stage, only rides a whirlwind when she can hold the reins real tight.
Because she sings about transformation, metamorphosis, it often comes as a surprise that Björk’s also singing love songs. Even when you pay close attention, the songs tend to dissolve and bubble away, leaving phrases to float through the brain : “Don’t get angry with yourself,” “emotional landscapes,” “You can’t handle love.” One song on her latest album, Homogenic (Elektra), is composed entirely of what seem to be overheard quotes, most memorably “I’m no fucking Buddhist but this is enlightenment.” No matter. Björk turns words into atmosphere—bursts of sensibility that use language as freely as they use sound. In “5 Years,” when she bites into the line “I’m so bored of cowards,” her anger is bracing ; she turns the word cowards into a chewed-up piece of garbage and tosses it into a pot of boiling synths. In “All Neon Like,” she promises, “I’ll heal you,” but follows it, “with a razorblade, I’ll cut a slit open and the luminous beam feeds you honey.” Her luminous has nearly eight shimmering syllables. Tossed on wave upon wave of now brittle, now honeyed synth combustions and those impossibly lovely strings, Björk’s lyrics are as ephemeral as smoke, as vivid as a lightning bolt—and sometimes as illuminating.
“Excuse me, but I just have to explode this body,” she tells us, matter-of-factly. Go on, girl. She already knows how to explode a song. At the Hammerstein, she could have been Liza Minelli channeling Lotte Lenya, tossing out crisp little Thank yous in between flights of speaking in tongues. She’s Venus as a girl— or a mermaid, a sprite, a friendly alien. She’s the smallest thing onstage, but she fills the whole room. Who could imagine this ? Perhaps only someone yearning to be violently happy and create a soundtrack for the neverending process.
Vince Aletti - The Village Voice
re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/

Björk - Saveing Iceland, The Eco-Awarenes Nature Events (2010-2011) - [AAC-M4A]





AAC-M4A download link: - https://www.mediafire.com/?xwoyc3io1dph0vv - "Saveing Iceland, The Eco-Awarenes Nature Events" (2010-2011) re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/

Björk - Live @ Karaoke Marathon, The Voice Of The People, Nordic House, Norræna Húsið, Reykjavík, Iceland, January, 6th/8th (01-06-08-2011) (Remastered) - [AAC-M4A]


AAC-M4A download link: - https://www.mediafire.com/?xpsyfys6tk2st1s - "Saveing Iceland, Eco-Awarenes Nature Events" (2010-2011)

Björk:
Live @ Karaoke Marathon, January, 6th/8th (01-06-8-2011)
Nordic House, Norræna Húsið, Voice Of A Nation,
Reykjavík, Iceland,
January, 6th/8th (01-06-08-2011) [Remastered]

Event Info: Duets with singer Björk Gudmundsdottir and Omar Ragnarsson (Icelandic journalist and environmental activist) and singer Páll Óskar with the Icelandic national handball player Ólafur Stefansson (Song on Air) have opened this afternoon the karaoke marathon. Up to and including the day after singing celebrities and anyone who desires under the slogan “The Voice Of The People” for the preservation of the Icelandic nature. Songs are performed each day from of 3pm til midnight in the Nordic House Reykjavik. While the karaoke marathons people are signatures on a petition, available at orkuaudlindir.is. The signatories call on the government of Iceland not to sell the resource nature off to Magma and to hold a referendum. Björk, among other initiator of the karaoke marathons and the campaign says in the interview in the Icelandic newspaper Fréttabladid that Prime Minister Jóhanna Sigurdardóttir had declared that if ten percent of voters (approximately 35,000 people) sign a petition revoking Canadian Magma Energy’s acquisition agreement of Icelandic energy company HS Orka, it cannot be ignored by the authorities. About 21,000 people had signed before the karaoke marathons starts. “Icelandic natural resources shall be owned and governed by the public.”
Also the Mayor of Reykjavík Jón Gnarr sang with Sigurjón Kjartansson: Song on Air. - http://tibauna.de/page/29/
Event Setlist: 
01. Children's Song (Car Song) (01-06-2011)
02. Love Will Tear Us Apart (01-06-2011)
03. Gleðibankinn (01-08-2011)
04. Declare Independence (01-06-2011)
05. Declare Independence (Head Banging Long Hair) (01-08-2011)
06. Karókímaraþon fyrir Orkuauðlindirnar, January, 6th (01-06-2011)
07. um orkuauðlindir - Stöð 2, January, 6th (01-06-2011)
08. synger mod den internationale storkapitals opkøb på Island January, 6th (01-06-2011)
09. Sungið fyrir auðlindirnar - Fréttir Stöðvar 2 og RÚV January, 8th (01-08-2011)

some pictures curtsy of www.bjork.fr
remastered + re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/

Tuesday, 16 September 2014

Björk - Live @ Teatro Regio, Parma, Italy, (11-08-2001) - [AAC-M4A]












AAC-M4A download link: - https://www.mediafire.com/?2mfhf2oscikex92 - Björk:
Live @ Teatro,
Regio. Parma, Italy,
(11-08-2001) [re-mastered DVD-R rip]
[AUD camcorder sound] Setlist:

01. Musicbox Intro
02. Unravel
03. Pagan Poetry
04. Anchor Song
05. Possibly Maybe
06. Generous Palmstroke
07. Cocoon
08. Human Behaviour
09. Army Of Me
10. All Is Full Of Love
11. I’ve Seen It All
12. It’s Not Up To You
13. Unison
14. You’ve Been Flirting Again
15. Isobel
16. Hyperballad
17. Bachelorette
1st Encore:
18. Jóga
2nd Encore:
19. Who Is It? (First Perfomace + Different Lyrics) *
20. It’s In Our Hands

DVD-R rip + re-mastered + re-encoded to AAC-M4A [superiour björklossless sound] by
http://gudmundsdottirbjork.blogspot.com/