AAC-M4A download link: - http://www.mediafire.com/file/z15khcfrc918jee/ - Björk:
Live In Concert @ Walt Disney Concert Hall,
Los Angeles, USA, LA, [Bjarni Frímann Bjarnason Stringed Philharmonic Orchestra]
30th May, (30-05-2017) [Partial]
03. History Of Touches *
04. Black Lake
08. I’ve seen It All
09. Jóga * [Partial]
10. Vertebrae By Vertebrae
13. Mouth Mantra
14. Anchor Song - 'this kinda emotional for me it's my last errr vulnicura concert' - björk.
15. Pluto *
show info: in the autumn of 2009 i sat down and wanted to decipher and reevaluate what musical education meant to me . the frustrated musicologist in me went ahead and completed the educational biophilia which since has been tought all around the world and is now a permanent part of scandinavias curriculum
i also wanted to question how i felt about musical documentation , when cds were slowly becoming obsolete , i was curious about the difference of midi ( digital notation ) and classical notation and enthusiastic in blurring the lines and at which occasions and how one would share music in these new times . what is the difference of karaoke and the lyrical recitals of the 19th century ? can one meet at bonfires and sing techno songs ? ( well icelanders do obvs ) maybe i should share digital notation that people could connect to their synths or do harpsichord versions of electronic beats to enjoy in the living rooms and hopefully families singalong to
100 years ago most music was shared through scores , does that even apply to today ? and if so how ?
from these questions i started working with jónas sen on gathering together my string , choir , vocal and brass arrangements through the years and arranging them for different keyboards such as organs , pianos , celestas and harpsichords .
i also talked to my longtime collaborators m/m and asked them to design a font for notes in the same way they would for letters . that of course became technically almost impossible but we believe we have now somehow found a program were everyone can design their own fonts to align gracefully to their music
and last but not least : as a soft feminist stance i decided to put importance on my arrangements through the years ( i feel still today most people are not aware of i have done the majority of the choir , brass , string and vocal arrangements myself through the years ) by doing concerts where we have transformed all these arrangements over to strings to emphasizing that part of my work . so far we have played albert hall , harpa hall in reykjavík , the auditorio in mexico city and will be playing the disney hall on the 30th of may . and i will be singing on top
hope you enjoy it !!
björk - https://www.facebook.com/bjork - Striding in from the wings at stage right, Björk couldn’t help making a dramatic entrance before the first song of the evening, “Stonemilker.” She was gussied up like the Evil Queen from Snow White in a stunning floor-length ensemble, with a shiny, black vinyl top giving way to a diaphanous, gray-black skirt streaked with rainbow-colored sequins. Underneath the folds of the gauzy skirt, she wore black thigh-high platform boots. Her shoulder pads were shaped like large black raven wings, and the singer’s head was crowned with a fantastic white and yellow helmet that sprouted long protuberances that bent and curled in the shape of a ram’s horns. laweekly
The concert was nothing short of breathtaking, as the Icelandic vocalist worked alongside 30-plus cellists, bassists, violinist and violists in two sets of daringly original and emotional music for the sold-out crowd.
She spent the first set with her most recent studio album, “Vulnicura,” opening with – like the album itself – “Stonemilker,” “Lionsong” and “History of Touches.”
The music was boldly experimental, which can be said of so much of Bjork’s lengthy songbook, yet more accessible than anything we’ve seen from the star in a long time.
She’s spent years looking into ways technology can change the way fans experience music. And she’s still doing, as witnessed by the concurrent – and quite amazing – “Bjork Digital” virtual reality-and-more exhibit that the L.A. Phil is hosting at the nearby Magic Box at the Reef venue.
Yet, this concert had nothing to do with all those VR and technology-aided endeavors. Instead, it was Bjork unplugged, singing to the rise and fall of some amazing string work.
After a short break, Bjork returned with a second set that was even stronger than the first one. She’d break out some of her most beloved songs, including “Aurora,”“I’ve Seen It All” and “Joga.”
Her voice sounded great all night, even seemingly growing a bit stronger as the concert progressed. She’d do some of her best work as she drew the main set to a close with “Mouth Mantra” and “Quicksand.”
“I kind of am very fond of extremes, as you probably noticed,” she said. “So that’s going to be a 32-piece orchestra and me singing, and there’s going to be no electronics ; I decided to have no visuals, so it’s just all about the ears. And then I’m going to come back in July with Arca, with a 15-piece orchestra” — for the opening night of the FYF Festival in Exposition Park on July 21 — “and we’re going to perform sort of stompers, if you will. That’s going to have a lot of visuals and surprises and special effects… and more celebrational and outdoorsy and festive.” Variety - mai 2017
tour photos @
http://www.bjork.com/ + http://www.bjork.fr/ + https://www.instagram.com/ + https://www.instagram.com/estherpeyron/
please buy her albums + support this superb and unique icelandic/nordic artist @
http://www.bjork.com/ https://www.facebook.com/bjork https://www.youtube.com/user/bjorkdotcom
https://twitter.com/bjork https://soundcloud.com/bjork https://plus.google.com/+bjork
made/edited + compiled together and re-encoded to AAC-M4A [superiour björklossless sound] by