![bjork i remember you bjork i remember you](https://www.innovateli.com/wp/wp-content/uploads/2016/11/bjork.jpg)
I mean, don’t get me wrong: I loved being in bands. When the laptop first came out, it gave me a lot of freedom, in that I didn’t have to work with a group of musicians. Technology just gave me so much freedom to do things that I couldn’t have done before.
#BJORK I REMEMBER YOU MANUAL#
But I grasp pretty quickly the potential of it, even though I don’t end up reading the manual myself. It’s kind of funny, because I’m actually not that good with technology. How has that affected the way you create and also what your music sounds like?Ī lot. Your post-Sugarcubes solo career–which began in 1993–has closely matched the rise of the modern digital age. You have to define the morality of it: Are you going to destroy with it or be creative with it? There’s always that fear of the tools taking over. But I love the handshake, you know? I really like to collaborate with people. Every few weeks you have to check if everybody is still up for doing this or not. It’s also important to be truthful with each other.
![bjork i remember you bjork i remember you](https://i.pinimg.com/originals/8f/ed/e9/8fede90e3a9ebc8e1027883a33f74c26.jpg)
You know in your heart of hearts with a new friend if you’d still have something to talk about in three weeks or if you’d be bored shitless with each other. If it’s fertile, it’s fertile, and if it isn’t, it isn’t. What have you learned about working with other people–while keeping your own creative vision intact? You have a long history of fruitful artistic collaborations. It’s first physical and then maybe you can stream it later. Maybe that’s the way to go with streaming. You go first to the cinema and after a while it will come on Netflix. It’s not about the money it’s about respect, you know? Respect for the craft and the amount of work you put into it. To work on something for two or three years and then just, Oh, here it is for free. So I think in a way it was a strange kind of blessing. And I was dying to get this album out and over and done with. “Okay, another thing has happened to me that I didn’t want to happen to me! I have no choice but to deal with it.” So in a strange way it was in the spirit of the album in that you don’t have a choice. That must have been particularly upsetting.Īt that point I had had two years of things happening to me that I didn’t want to happen to me, so my Buddhist muscle had been well exercised. Speaking of not being in control, the album leaked two months ahead of schedule, forcing you to release it early. In that sense it was a process that I wasn’t in control of. It’s like chapters in a book: You do the first chapter and then you have to do the next chapter. Most people who go through a period of grief, it’s a process. Every time I would want to skip it and just do a disco album I, because it was this big lump of songs I just had to deal with. What threw me a lot was just how difficult it was. I just had to listen to my gut, what felt right. This has probably been the most impulsive album I’ve done.