Bjork discussed sexism in an open letter posted to her Facebook account.
Iconic alternative music heroine Bjork has addressed the issue of sexism that women are subjected to when it comes to topics they can cover in music, saying that female artists are criticised if they “don’t cut our chest open and bleed about the men in our lives”.
The prestigious Icelandic artist, 51, took to her official Facebook page to post an open letter on Wednesday (December 21st). She said that, while she had never up until this point “moaned about sexism and just got on w[ith] it”, a recent experience while she performed a DJ set at Houston’s Day and Night Festival had moved her to comment.
“I am aware of that it is less of a year since I started DJing publicly so this is something people are still getting used to and my fans have been incredibly welcoming to me sharing my musical journey and letting me be me,” she wrote.
Continue reading: Bjork Takes On Music Industry Sexism In Open Letter
Bjork Digital comes to London's Somerset House in September, along with a single live show at the Royal Albert Hall.
An exhibition marking the experimental visual work of the ground-breaking singer Bjork is to be held in London’s Somerset House this autumn – along with a single live show at the Royal Albert Hall.
Bjork Digital will open at the central London venue on September 1st and runs until 23rd October, with the aim of showcasing the visual work the Icelandic singer has created in collaboration with others over the last two decades to accompany her musical projects.
Bjork performing in 2015
Coldplay, Justin Bieber, One Direction and James Bay were the other big winners at the 2016 Brit Awards in London.
Adele dominated at this year’s Brit Awards, taking home four of the biggest awards of the night in addition to her show-stopping performance of new single ‘When We Were Young’ at the end of the evening.
The 27 year old Tottenham-born singer was named best British Female Solo Artist at the start of the ceremony, and her night only got better from that point onwards, as she also netted the Global Success Award, best British Single for ‘Hello’ and the evening’s most prestigious prize, best British Album for 25.
Adele’s acceptance speeches were among the viral moments of the evening, as she became increasingly lost for words as the evening went on. “To come back after so long away and be so warmly received means so much,” she said, “I got really lost for a while and I didn't know if I'd ever come back. For you all to be so kind to me is so nice.”
Continue reading: Adele Sweeps Brit Awards With Four Victories
I doubt that 2015 will be remembered for being dominated by one particular musical genre. It seems the culture of digital downloads has made it more difficult for a movement to coalesce in a marketplace brimming with choice.
I'd argue though that the last twelve months has seen the strongest showing from female artists across the board for many years. Many acts would easily have made my year-end list on a different day, and many of them cantered on a strong female voice. Solo artists like Joanna Newsom, Laura Marling, and Lana Del Rey all presented strong albums. Even Florence Welch's third album How Big, How Blue, How Beautiful, which didn't quite live up to her previous efforts in my opinion, featured some glorious moments. I debated for a long time whether to include Courtney Barnett's Sometimes I Sit And Think, And Sometimes I Just Sit in my ten best records list. Ultimately it sits just outside for me, although her unique delivery and kitchen sink drama approach is wonderfully endearing. That Adele's 25 closed the year on a strong note, just underlined the trend that had been building all year. It's not just solo artists though; the likes of: Best Coast, Girlpool, Bully, and Wolf Alice, all demonstrated that women were back in the spotlight.
Other bands made welcome returns, Blur in particular were my live highlight of the year, thanks to Graham Coxon's master class on stage. Their album The Magic Whip didn't quite make the cut for my list in the end, compared to most other years it would have. Interestingly it was also a year where side projects came to fruition for well-known artists. Dan Auerbach's The Arcs produced their first studio material, as did Matt Berninger's El Vy. Both albums had their moments, but didn't quite feel fully realised in their own right. Elsewhere the likes of Lucero, Jason Isbell, and Ben Folds produced albums that matched their finest work. My love of bands from Philadelphia also continued thanks to Beach Slang's debut The Things We Do To Find People Who Feel Like Us and Hop Along's third album Painted Shut. If there were disappointment's I had, it was those records that were simply good and not as great as you'd hoped. The Decemberists, Frank Turner, Wilco, and Death Cab For Cutie's albums all fell into that category for me. By no means bad, the material on those albums struggled to compete with their high watermarks of previous years. I was especially curious about Ryan Adams' ambitious reinterpretation of the entirety of Taylor Swift's 1989, the result didn't quite live up to the promise it had on the drawing board though. It may have introduced a different audience to some excellent songs, but Adams managed to strip some of the fun out of the arrangements in the process. By the time there were Father John Misty covers of Adams' recordings on the Internet, it felt like the Swift fan club didn't need any more famous members.
Then there were the records you felt you should love, but for whatever reason they just didn't connect on a personal level. Drake and Father John Misty aka Josh Tillman produced records that despite the hype I just didn't manage to fall in love with. Tilman's 'Bored In The USA' was astute social commentary with it's tongue firmly in its cheek, but it didn't hook me into the album as a whole. Perhaps the biggest record in this category for me is Kendrick Lamar's To Pimp A Butterfly. It's technically brilliant, ambitious, has great rhymes, and straddles so many genres that it shouldn't be as cohesive as it is. The problem was, it left me cold. It almost felt as if Lamar wanted to prove he could produce something that ticked all the boxes he thought he should, rather than writing the record he wanted to. Perhaps with time I'll grow to love these albums, hindsight is a wonderful thing.
Continue reading: Jim Pusey's Top 10 Albums Of 2015
Bjork brought her Biophilia tour to London this week.
Bjork's 2011 album Biophilia, exploring the relationship between nature, technology and music, was considered one of the better efforts of that year, though the supporting live show appears to have eclipsed it. The show - launched two years ago alongside a series of short-lived apps for iPad and iPhone - arrived at London's Alexandra Palace this week.
It began with a recorded preamble from broadcaster and naturalist David Attenborough, who told the audience they are "on the brink of a revolution that will reunite humans with nature through new technological innovations." Anyone who caught the unlikely duo's Channel 4 documentary exploring music and how it exists in the natural world will have known they were in for a treat.
Despite the complex song structures, thrilling stage design and Bjork's signature delivery, one thing was missing from Ally Pally, camera phones.
Continue reading: Bjork Rocks London's Alexandra Palace, A Camera Phone-Free Zone
Here's what to expect from Chicago's Pitchfork Music Festival this weekend (19th - 21st July 2013).
Every summer this globally loved festival presents some 40 plus artists from all parts of the music spectrum, including both classic chart-toppers and new emerging talent, to 50,000 indie fans. They have been praised over their seven year existence for their cheap ticket prices and friendly atmosphere and that's not about to go any time soon. Apart from great live music on show for three days, there's some of the best indie vinyls for sale at the CHIRP Record Fair, some excellent posters and art-pieces about, as well as a craft fair and an array of musical books and magazines. It's not just for Stateside music fans though, the festival hits Europe for Pitchfork Music Festival Paris on October 31st, November 1st and November 2nd.
Continue reading: Union Park Prepares For Its Seventh Annual Pitchfork Music Festival
Mumford and Sons were forced to pull out of the Bonnaroo Festival following concern for bassist Ted Dwane's health. Dwane has recently undergone surgery to remove a blood clot. Jack Johnson stepped in to fill their two hour slot at the Tennessee festival.
Jack Johnson stepped in at the last minute to cover Mumford and Son's slot. Not only did the singer have to find a band, learn a whole host of new and old and quickly practise, he also made the time to compose a short acoustic song about the festival.
The four day festival which takes place in Manchester, Tennessee was first held in 2002 and has been hugely popular and influential. Johnson has a history with the festival, having performed at the first one and headlined in 2008. Johnson was, conveniently, already at the Bonaroo Festival when he received a call on Thursday (13th June 2013) as he was appearing as a special guest, performing alongside Animal Liberation Orchestra.
In an interview with Rolling Stone, the singer said he was expecting 'a train wreck' owing to the short time he had in which to prepare. Johnson has recently been out of the limelight, working on his new album entitled 'From Here To Now To You', due to be released on 17th September. The singer paid homage to the British folk band, singing his version of 'The Cave' which was greeted with vast audience participation and applause.
Continue reading: Jack Johnson Replaces Mumford And Sons At Bonnaroo Festival
Lineup announced for this year's Bonnaroo Festival, 2013: featuring Tom Petty and the Heartbreakers, Mumford & Sons and Sir Paul McCartney
This year’s Bonnaroo Festival takes place in Manchester, Tennessee, on June 13-16 and the lineup is boasting some pretty heavyweight talent, with the likes of Tom Petty & The Heartbreakers, Mumford & Sons and Sir Paul McCartney stealing the headline slots. Beyond the draw of the top billing, though – who should you go and see if you manage to bag a ticket to Bonnaroo 2013? Here’s our Top 5 Bonnaroo Bets.
1. Bjork – We can’t remember the last time there was an opportunity to see Bjork in such a superb festival setting (okay, we probably could, if we cast our minds back a little but it’s far from a frequent occurrence). The eccentric Icelandic songstress always puts on a fabulous show, both visually and sonically, setting fire to all of your senses, whether you are a hardened Bjork fan or simply wandering past the stage, wondering what the hell might be going on.
2. Cat Power – OK. This one comes with a warning. When she’s on form, Cat Power (aka Chan Marshall) will provide you with one of the most emotionally charged, cathartic live music experiences that you’re likely to experience. On a bad day, though, it can be torturous to witness. All part of the Cat Power charm, of course, but a gamble, nonetheless.
The Bonnaroo festival line-up has been released and it's something to get yourself excited about. Not got a ticket? You'll definitely want to get yourself one once you see who'll be performing.
The Bonnaroo festival info page is a veritable delight of explaining Out There and In Here. Out There is out here, where we are now, beyond the limits temporally or spatially of the festival itself, but In There, in the festival, the festival organisers want it to be a haven of positivity, safety and, above all, supreme amounts of fun. They describe it as "4 of the best days ever" and "an escape into Excitement. Music. Art. Discoveries. Trees. Fresh Air. Green Grass... Friends (Old / New). Adventure. Overwhelming happiness. Hugging a stranger by accident. Sharing and Generosity. Bonnaroovian Dancing. Hyperbolic verbiage..." and the list goes on. Sounds good, right? Well, the line-up is even better, and suitable for all genres you may find yourself remotely interested in.
Here's the best of the list, from the headliners down to the early stars: Paul McCartney, Grammy winners Mumford & Sons, Tom Petty & the Heartbreakers, Bjork, R Kelly, Wu-Tang Clan, The National, The Lumineers, David Byrne, St Vincent, Passion Pit, The XX, Kendrick Lamar, Grizzly Bear, Animal Collective, Of Monsters and Men, Nas, ZZ Top, Beach House, Edward Sharpe and the Magnetic Zeroes, A$AP Rocky, Tame Impala, Gaslight Anthem, Billy Idol, Foals, Local Natives, Alt-J, The Tallest Man on Earth, Earl Sweatshirt, The Vaccines, Frank Turner, Purity Ring... and once again, the list goes on. Check out the website to see the rest.
Sir Elton John stirred up controversy in Beijing on Sunday (November 25, 2012) by dedicating his show to the Chinese artist and dissident Ai Weiwei. The 65 year-old singer said his performance was in honor of Weiwei's "spirit and talent," reports BBC News.
Weiwei - one of the world's leading sculptors - is an outspoken critic of the Chinese government stance on democracy and was detained for nearly three months last year. According to audience members at Elton's show, a "murmur of shock rippled through the crowd," after the tribute. The British star had met Weiwei at the Wukesong Arena ahead of the concert and the artist later uploading a photograph of himself with Elton before re-tweeting a message from a fan that read, "My favorite thing about Elton John dedicating his concert to @aiww, Party leaders sons and daughters in the audience to hear it!" The singer continues the Asian leg of his world tour this week with shows in South Korea and Kuala Lumpur.
Elton isn't the first western entertainer to criticise the Chinese government during live shows. In 2008, Icelandic singer Bjork caused controversy among fans in China by shouting "Tibet, Tibet" at the end of a show in Shanghai.
Continue reading: In China, Elton John Dedicates Show To Dissident Ai Weiwei
For years filmmakers have been trying to reinvent the musical. "Evita" went big, "My Best Friend's Wedding" sneaked musical numbers into its semi-standard romantic comedy, the "South Park" movie mocked the cartoon musical while besting it with genuinely catchy tunes, "Love's Labour's Lost" was an homage to the Fred and Ginger sing-songs of the 1930s.
But no one has succeeded in making a truly modern movie musical, one that employs emerging filmmaking techniques instead of reaching back 50 years for inspiration. In fact, no one has ever even attempted something like "Dancer In the Dark."
Writer and director Lars von Trier -- the reclusive Dane behind the minimalist Dogme95 movement that espouses natural lighting, no props and handheld cameras -- discovers a way to marry his trademark sparseness with the unfettered showmanship of song and dance numbers in this daring retooling of the musical genre.
Continue reading: Dancer In The Dark Review
Date of birth
21st November, 1965