Nell’inserto di ottobre della rivista inglese ES Björk concede una intervista esclusiva corredata da nuove fotografie. Nel corso dell’ intervista diversi sono i punti che mostrano il nuovo cammino di Björk, dopo Vulnicura.

Nell’ultimo decennio la musicista si è battuta molto per affermare la sua presenza come musicista donna nel panorama pop contemporaneo:

‘If a guy had done all the strings, all the choir arrangements, and a lot of the production on his album, he would have credit for his work. It’s always like I’m this esoteric creature; that I just turn up and sing and go home. People still don’t seem to take me seriously as a songwriter and arranger and producer.’

‘I felt very blessed with being invited to all the A-list parties so that I could try it for a year and know that there is nothing to miss. It’s not what it looks like. They’re really boring. Everyone is standing there frozen and you can’t move, you can’t get pissed. Most importantly, the music is terrible at those parties. Horrible. And then soon there were 40 paparazzi hiding in my bushes. I thought: “I can’t write songs like this.”’ After an incident with an acid letter bomb from a deranged fan which was intercepted by the police, she moved to Spain to work on her third album Homogenic, withdrawing from the celebrity milieu that threatened to contaminate her music. ‘I made a conscious decision that I wasn’t going to be dependent on being liked.’

Björk ricorda alcuni trascorsi mondani del suo passat0 a Londra durante il periodo di Debut e Post, dichiarando che non rimpiange l’aver deciso di non farne più parte, dedicando maggior tempo alla sua musica.

‘I did only a limited number of gigs. I thought: “I’m not going to sing this a thousand times. There’s a really thin line when it becomes too self-indulgent. The way I did it was I started to write my next album and worked on a series of VR videos so that they could travel [on my behalf].”’

Vulnicura VR rappresenta per Björk un nuovo modo per rendere un album così autoindulgente come Vulnicura un progetto con una veste itinerante ed indipendente da lei. Questo le permetterà di dedicarsi alla stesura del nuovo album.

‘Yeah, I think so. It’s not about erasing things. You overcome them and you exorcise them. I think looking back on it, now that some time has past, it was the fact that it was a long-term relationship, you know? I mean, it was 13 years.’

I think the soulmate thing for me distributes over quite a lot of people. I have a really good group of girlfriends and most of them are artists as well. I think the biggest death for me was the death of this idea of family. I have a big family in Iceland, and they all have long-term partners and children.’

Come già in passato esplicitato e musicato in brani come Family e Notget, il dramma della separazione dall’ex compagno Matthew Barney è stato l’epicentro che ha ha dato vita ad un album come Vulincura, il cui intento non era di invalidare un dolore tangibile ma di esorcizzarlo tramite l’accettazione dello stesso.

‘My throat is my strongest thing, but also my weakest most fragile thing.’ Sometimes, she adds, ‘towards the end of a tour I can’t speak between gigs, when I’ve been like that for two days I get this kind of negative space around my mouth. And then I go “Waaaaa!” when the last gig has finished’.

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