Lhasa* - La Llorona planetbjork

August 9, 2019
Can't believe this amazing album is finally on LP, totally passed me by in 2017, must get a copy now....

Björk - Telegram planetbjork

April 15, 2018
Does the CD version of Enjoy "Further Over The Edge" (with vocal fragments) exist anywhere on vinyl?

Björk - Alarm Call planetbjork

April 14, 2018
Does a digital version of the "Reprosession" Mix exist anywhere?

Björk planetbjork

April 14, 2018
I have the same 3 CD card sleeve too. On the individual CD single profile pages for Possibly Maybe on Discogs it says the below:
"Released in a slipcase with room to hold also Part 2 and Part 3.
The three CDs were released individually but in some shops outside the UK they could be found as one set"

Björk - Post planetbjork

November 24, 2017
That would be the uncleared Scanner sample, I think... they pressed versions without it, which makes the song shorter...

Muslimgauze planetbjork

March 6, 2017
Do you have any of the early releases in digital formats?... such as; Kabul, Opaques, Buddhist On Fire, Blinded Horses, Flajelata, Hajj, Coup D'Etat, Jazirat-Ul-Arab and Abu Nidal – the LPs are really expensive and I don’t think any of them are on CD either. Would love to know if they’re available as digital downloads…

Oceanic - Insanity planetbjork

January 19, 2017
Your write-up perfectly sums up the early '90s dance and rave scene to me and I was 6 in 1991. I love this kind of dance music, I feel there's a pure energy in it, and understand at the same time it is a cheesy dance hit...

Formication - Icons For A New Religion as reviewed by planetbjork

June 10, 2016
Great avant-garde and weird electronica from an obscure pairing. It’s subtle in places and prominently loud in others. It swirls and spits its way around the ears with intimacy.

We experience odd and deliberately casual dialogue, off-putting at first but the deep choral sighs and swoons fall incessantly on certain tracks which are mesmerising. Elsewhere, frequency waves and transistor bursts stutter all over the place quite finely and all the tracks have a beautiful emotional musical thread drifting through them.

It’s a very good album but not one that is completely memorable, it burrows away into your brain like a new worm or mollusc, spewing finely woven entrails along the way. It also seems that some of the sounds within aren’t as far-out as they’d like to be. Yet, like a burrowed cavern, the general atmosphere is damp and heavy will unease and anxiety, perfect for the brooding moments in one’s life.

Aphex Twin - Drukqs planetbjork

December 1, 2015
I can't comment on the packaging, but i read somewhere that all the tracks on his computer were hacked or leaked, or something like that. Being a bit miffed at this, he decided to just release all the tracks in no coherent order and with odd titles etc. That might explain why they seem absurd and unfinished?

Nicolette - No Government planetbjork

October 26, 2015
I think the remastered version (original as it states) with the duration of 5:30 is excellent, such a party track with a melancholic undertone for me. I think it's the ultimate version and I'm obsessed with it! Anyhow, I saw your comment on the 'Microsoft' sound you hear and I thought it was intentional by Plaid (or whoever produced it). I don't see it as an error as it seems to happen at exactly the right moment when that certain section of Nicolette's singing finishes. Maybe it was Plaid's way of putting their mark on the track, and could be seen as an ironic reference to technology in what can be perceived as quite an earthy and organic techno tune??!!

Comus - First Utterance planetbjork

February 2, 2015
There appears to be a defect on the first song Diana, the song skips three times in the first 15 seconds or so. The vinyl spins smoothly so is definitely the recording. Has anyone else noticed this?

Björk planetbjork

September 18, 2012
Even though I am a Björk fanatic I have to agree with you on this. I didn’t understand the Volta 12” singles at all. I ended up buying the releases ‘Earth Intruders’ ‘Wanderlust’ and ‘Declare Independence’ only to find most of the remixes released on the Voltaïc live/remix album a year later. I therefore ended up getting rid of said singles down the music and goods exchange shop. But now I’m tempted by all the remixes for Biophilia which are coming out (some are quite interesting) on 12” with one track each side. But should I wait until they are compiled on a remix project next year. I adore Björk’s music for its complexity and simplicity yet at the same time why can’t that translate with a simple product and complex artwork? I fail to understand why a genuinely clever artist such as Björk would chose to use such elaborate, unnecessary product to sell to her fans?

Zomby - Where Were U In '92? planetbjork

February 17, 2012
This album is so good, it needs to be pressed on vinyl..!!

Foehn - Hidden Cinema Soundtrack as reviewed by planetbjork

January 25, 2012
edited over 7 years ago
Music like this can be seen as overindulgent and self centred but this takes us into another realm altogether. Foehn's music is spooky, inquisitive and unnerving. Opening with ‘To The Forgotten Forest Deep In Space’ we set off with a pleasant low-end sine-wave and ambiguous flute. An abrasive beat plods along with an undertone of misery and regret, which grows into a swirl of anxiety pulling at our hearts with its pleading strings.

These tracks emulate and embrace film music, all of which could serve as a purpose for cinematography. Yet, they are far more intelligent and have their own incredible style. They encompass a subtle cinematic theme with various orchestrations of sound embedded into its veins. The mood is sombre and heartfelt, yet dark and stubborn. A good use of samples circulate, as does various field recordings.

‘A Wild Face Pours Words On The Last Beach’ would be perfect for a spy thriller down a dark and dank alley while ‘This Time Was In A Dream’ sets us adrift on a sea of brutality swaying in awkward directions. ‘Into The Darkness And Stars’ is a dramatic organ led piece followed by the more upbeat and exotic ‘Suddenly He Realised He Could Fly’

All these tracks have one thing in common, a searing smear of unease and intense lo-fi bearing. Debbie Parsons’ experimentation leads even further afield on tracks such as ‘Piano Clatter’ and ‘I Really Love High Winds’ in which she introduces even more odd field recordings and musique concrete.
This record works well, if only a little disjointed when compared to Parsons' brilliant predecessor ‘Silent Light’