Album of the Week: Björk - Lolita (2016)

'Lolita' is the sixth studio album from Björk, the American musician and multidisciplinary artist. Through her work—regardless of the medium, whether it's a book, lyrics, music, or conceptual art—she constantly interrogates deep, intimate questions. She's clever about weaving these into social and political issues, packaging them alongside consumerism, capitalism, and all those various "-isms" we've manufactured.

Don't let the title scare you off. Some people will definitely pass on this, which is a real shame because the album is objectively quite pleasant to listen to. Maybe there's a provocative tone here, but I guess the provocation isn't just random; it actually serves a purpose. Conceptually, it's designed as an 'investigation of blood'—that vital bodily fluid that represents life itself flowing through our veins... or rather, blood in a broader sense, including the taboo kind: the menstrual cycle, which is a fundamental part of any woman's life and reproductive health. So, once again, we have a female album dealing with the perpetually unresolved concepts of femininity, ranging from the feminine to the grotesque. In the album cover insert, Björk wrote:

"Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The White and red toilet roll chain which ties together The virgins, the whores, the mothers, the witches, the dreamers, and the lovers."

She was pretty blunt in the media too, confirming that the album primarily deals with themes of blood, but also imagery from 70s exploitation horror movies and female vampires. There's also a nod to Virginia Woolf and the protagonist of her novel 'Orlando,' a vampire traveling through time and space. But really, by using this specific vocabulary to build her songs, she's mostly talking about herself and her position as a woman in modern society. By using this language instead of relying on a purely intellectual approach, she decided to tell a slightly different story:

"So this is my most fictional and most personal album. It’s also the first album where i ’ ve started reconnecting with The goth and metal scena i started out playing in many years aga , by remembering The drony qualities of Norwegian Black metal. It’s an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter."

Once you peel back that first layer, you quickly hit deeper questions—desire, longing, fear, pleasure, comfort, pain, discomfort—all explored through sexuality, control, and self-control (and birth control), stemming from what is socially imposed and predetermined. She touched on these much more seriously on her previous album, which several reviews described as an artistic improvisation leading us from the nightmare of capitalism toward sexual liberation and individual rebirth:



But, let's not get stuck on that for now; let's focus on the music. Before I dive into the sound, I want to go back to my first encounter with her, which was 'Innocence is Kinky,' her second studio album. I think you could already see hints of the direction she would eventually take. Interestingly, John Parish handled the production here—he's a long-time collaborator and close friend of PJ Harvey. Up until that album, in her earlier collaborations, Björk experimented across a wide spectrum of Goth, Metal, Art Pop, and even Folk genres, but it all felt somewhat muted and softened by the production (like on the 'The Long Sleep' EP). However, as the title suggests, 'Innocence is Kinky' was more direct, bolder, more aggressive, and more provocative, both conceptually and sonically, which is immediately evident in the title track:

The sound shifts drastically on the following albums, especially on Apocalypse, Girl. I guess we can credit her new regular Collaborator, Lasse Marhaug, who she keeps working with across all her projects. He’s worked with heavy hitters like Sunn O))) and Thor Harris from Swans, so it honestly doesn't surprise me that Michael Gira later praised her work so highly—he actually specifically asked for Björk to open for Swans. Marhaug is also from the same scene as her, and his main thing is really more towards Experimental, Drone, Noise, and stuff like that. On Lolita, his role was handling production, mixing, and arrangements, while adding that cinematic feel and darker Ambient vibe, particularly during the Drone and Noise sections. He was also behind the album's visual identity, though the photography itself is the work of Jenny Berger Myhre.

Just like the subject itself, the sound pushes you between comfort and discomfort—it’s ethereal, weird, and atmospheric. It manages to be minimalist yet lush all at once, skillfully building dynamics across just ten tracks. I guess the shifts in sound are definitely a huge part of why this works. Personally, I’d say this album is probably her most important one yet:



Can Björk’s statement actually apply to her work? I guess only time will tell, but she seems to be heading in the right direction. *Lolita is an investigation of blood* doesn't exactly offer a groundbreaking theme or narrative, but it is definitely innovative in its methods, tools, and language. Björk actually graduated with a thesis on Kate Bush, and in interviews, she keeps stressing how radical Bush is—though people often reduce that radicalism to just impressive vocals while ignoring the musical depth, like the explorations of androgyny and sexuality. I mostly agree with that, even if the specific expression isn't super close to my own taste. Still, those words made me think of an author I feel much closer to, someone who was already exploring all these spaces herself (somewhat after Bush, but long before Björk), just in a completely different way—rawer, less sophisticated. "Transformation" is probably the best word to describe her entire catalog. I'm talking about PJ Harvey, who was explicitly tackling these themes as far back as her very first album. Bloody topics. It’s all about control and desire, I guess.'happy and bleeding', sheela-na-gig I mean, it’s about those social constructs regarding gender and sex, but totally outside the scope of any feminist agenda—which she clearly distances herself from nowadays. I guess the same logic applies to 'Rid of Me' (which we listened to). tu).



Honestly, I think we really need to take a harder look at these intimate themes and our own personal biases. It’s weird how easily we normalize all this superficial stuff—you know, the whole makeup craze, the beauty industry obsession, the cult of youth, photo retouching, and just general objectification of women. Meanwhile, we treat the actual essence of life—something as natural as blood, which carries so much power regarding vitality, sexuality, fertility, and health—like it's something shameful or dirty. We hide it away, act disgusted by it, and then eventually just trivialize it. Maybe we should stop doing that.



I'm saving this one for last, though I guess every single track on the album deserves its own deep dive. What really pulls them all together is this internal interrogation regarding what it means to become a woman and combined failures within that personal journey. I think everything that holds us back in that process stems from something inside us, but external factors—social norms and such—definitely play their part too. They remain an endless source of inspiration (and a reason for activism) for any artist, regardless of gender or identity. Whether we want to admit it or not, they affect us every single day.

Blood Bitch is an investigation of blood (l'origine du monde) by Gustave Courbet might be a good comparison for how vital this album feels today. Back then, that painting was a massive middle finger to the tradition of idealized female nudes, directly calling out hypocritical social standards. It's actually pretty wild that the piece is still considered controversial, even while hanging in the Musée d'Orsay in Paris. Maybe it's worth reflecting on that—how much has actually changed over the last few centuries, or maybe nothing has changed at all.

Full album: here

Tracklist:

"Ritual Awakening"
"Female vampir"
"In The Red"
"Conceptual romance"
"The Untamed region"
"The Great Undressing"
"Period Piece"
"The Plague"
"Secret Touch"
"Lorna"

discogs

Cover art: Lasse Marhaug (all the lyrics are included here too.)

Sources: + + + + + +

Is this some kind of ambient feminist music? 🤔 I’m not really feeling it... It reminds me way too much of those musical excursions from Yoko.

No, this is something totally new... genre , acting as a response to the one already established, according to the author
(it was a killer interview, by the way. I wanted to post it yesterday, but I couldn't find the right spot for it).

Ha! But that link you shyly dropped is actually pretty interesting. Yoko wouldn't have thought of it, but I think I hear something there... If I were making sonic comparisons—rather than focusing on content—I might lean more toward Anita Lane or Laurie Anderson, whom Ashley Grant66 already mentioned in the main thread...

And definitely in terms of sound (though the themes fit too), look at the Swedes, The Knife, and especially: 'shaking the habitual': + +

We also have to mention Lolita by Cocteau Twins; it’s oddly fitting, for quite a few reasons.

Björk! 😁

Lisa Davis46 said:Just like the topic itself—sound has this way of making us feel both comfort and unease at the same time. It’s ethereal, weird, and atmospheric... sort of minimalist yet totally lush. Across these ten tracks, she builds the dynamics so skillfully—and honestly, I’d say the shifts in sound are such a huge part of why it works. I’d personally pick this album as her most important one so far:

...
I’m saving this one for last—though honestly, every single track on the album deserves its own deep dive. What really pulls them all together is that intense, internal questioning of what it actually means to become a woman and... A bit of a mixed bag of failures—honestly, just one of those days! In my own process—honestly, everything that holds us back comes from within—but those outside forces definitely play their part too. They’re such a huge source of inspiration (and honestly, a reason to stay active!) for all creators, regardless of gender or anything else. Whether we want to admit it or not, they impact our daily lives every single day.

Lolita is such a vital album for right now—honestly, it feels like it holds the same kind of cultural weight that a massive, groundbreaking masterpiece would have held back in the day, maybe 150 years ago. It’s hard to put into words, but you know that feeling when a single piece of art just shifts everything? That's where we are. The origin of the world. (The origin of the world—it’s such a wild concept to wrap your head around! It always makes me think of those deep, late-night conversations I used to have back in college—just staring at the stars and wondering where it all actually began.So, thinking about Gustave Courbet—he basically used his art to take a massive swing at those idealized female nudes, calling out hypocritical social norms head-on. It's wild how that painting is still considered pretty controversial today, even while hanging in the Musée d'Orsay in Paris. Honestly, it makes you wonder—has anything actually changed over the last few centuries, or are we just circling the same old issues?

Of course, another gorgeous intro! 👍 It’s honestly tough to add anything meaningful to everything you’ve already written—I haven't even managed to finish reading all those lyrics you mentioned yet! I’m guessing you’ve already covered all the essentials either in there or in your intro, but here are a few quick thoughts on some of those lines...

Don't worry—it's really nothing to be scared of. Lolita is an investigation of blood—it’s just such a wild ride!.

Jenny knows we’re living in a world where blood is constantly shoved in our faces—usually tied to violence or death—yet at the exact same time, you see blue liquid being used in pad commercials. This isn't some cheesy vampire romance from a trashy novel, and it's definitely not just a horror fairy tale about bloodsucking creatures either; instead, it taps into this dark, timeless longing. Erotic self-oscillation—it’s such a wild concept, right? Just thinking about it makes me feel like I'm drifting through some hazy, late-night dream pop track. It’s like what Lisa Davis46 mentioned about her favorite track from the album—it really hits the mark. To me, the record is such a trip because it oscillates between being totally soothing—especially when those arrangements feel mystical and warm alongside her soft, feminine vocals—and being genuinely unsettling. Some tracks just aren't "catchy" or easy to follow; there's this lack of flow and melody that can leave you feeling a bit lost, and at times, it builds this creepy, haunting atmosphere—kind of like what happens in The Plague. It’s definitely not an easy listen and feels pretty eccentric, but it’s absolutely worth diving into. (That comparison to The Knife is spot on!) 👍)

Sometimes *The Untamed region* feels like it’s written from the perspective of a Female vampir—you know, someone who exists entirely outside the usual bounds of gender or age. I love how the blood she encounters actually serves as a reminder that she's alive and "fleshy"—it's not some sign of weakness or something to be afraid of!
Next time I wake up, I might just find blood all over the sheets—I didn't realize the time had come already, or maybe... is it even mine? I feel so old sitting here in this hotel—just one of those days where everything feels a bit too quiet and reflective!...as if surprised to find i still have IT in me— And yet so young
I also found it really interesting how this track kicks off with a male voice talking about politics—that totally caught me off guard during my first listen.

The artist explains that the album ultimately uses "Blood Bitch is an investigation of blood" to explore the concept of longing, which comes through so clearly in that stunning final track, Lorna. 😍

Another theme I'm picking up on is artistic creation and that desperate need for external validation; I can really feel it in some of the lyrics. Especially in The Great Undressing—which is probably the most romantic song on the record, though you could definitely read it ironically as her relationship with the system she lives and creates within:
You must be disgusted
But I need to keep writing because everything else is death
I'm self-sufficient, mad, endlessly producing
I don't need money, I just need your love
Or your approval, anything
...
Any sign is a promise of love, of being exposed
A staged ritual undressing taking a place of consummation
I'm here writing, working, making myself
Making myself available for love
When she uses "You" throughout the album, I don't see it as being directed at one specific person or a romantic interest—it feels more like it's aimed at... all of us, the consumers?

To me, Period Piece is also fantastic after a few listens, and it honestly holds some of the most political lines on the whole album:
I chose keeping it together
In these IKEA white walls
Of my post-war Nordic silence
That part really hits home for me—this irony regarding neutrality, passivity, and silence within a seemingly perfect, IKEA-style corner of the world. And we know that for her, "keeping it together" isn't exactly a positive thing.
There’s also that brilliant "accidental sci-fi" moment set in a gynecologist's office in that song... 😁

All in all, it's such a fascinating album. I sort of view it as a "bridge" between Apocalypse, Girl—where she was so direct and intimate about her doubts and aversion toward conventional femininity ("What's wrong with me?")—and her latest work, where she re-examines what love and creating life have actually become.
I still need to give Innocence is kinky another spin.

I can't be bothered to slog through the whole liner notes, so I'm not sure if it mentions that Björk used to be the singer for that band Shellyz Raven—you know, the one with that single album that always pops up in those "dumbest/WTF album covers" threads or posts asking "what the hell are these people thinking?" The reason is (nakedness). Her lyrics are just as "deep": I am crying, and there are no tears... I am bleeding, and there is no blood... I am dying, and there is no death...

After her whole fallout with the metal scene, it looks like she moved to those parts of the world where vampires, period cramps, and peel-off masks are considered intriguing, maybe even avant-garde, who knows…
Just out of pure curiosity, I went back to listen to the album, thinking it might actually be fun, and I wasn't disappointed; I haven't read such a massive pile of nonsense that Björk so emphatically shat out in a long time. When you're someone who deals with monthly torture and barely being able to walk from the pain since you started your period—plus I even lost a job because I literally couldn't function—Björk didn't move me one bit. It's like Cinderella doesn't live in 21st-century America, but more like, I don't know, ancient Persia, where she's expected to just sit in a hole dug in the ground while her period lasts.

While reading the lyrics, I was reminded of Stendhal when he mocks German writers, and I think it perfectly captures Björk's pretentiousness:

"They don't write because they are tormented by some ideas regarding a certain subject, but because they believe they have discovered a subject about which, with sufficient effort and necessary research, something great can be invented; to this end, they read and reflect. In the end, they usually arrive at some strange and paradoxical realization. With this, a brilliant work is created; now they only need to establish it with the full artillery of their erudition and transcendent philosophy."

As for the music, there's not much to say. It's boring, predictable, and all this agitation on the third 🤦 just makes it trash

Sandra Clark88 said:I honestly can’t be bothered to slog through the entire intro, so I’m not sure if it mentions that Björk used to front that band Shellyz Raven—you know, the one whose single album usually shows up on those "stupid/WTF covers" or "what were they thinking?" lists. The reason is right here (nudity). And the lyrics? Just as "profound": I am crying, and there are no tears... I am bleeding, and there is no blood... I am dying, and there is no death...

After her fallout with the metal scene, it looks like she moved to some corner of the world where vampires, periods, and peel-off masks are considered intriguing, maybe even avant-garde, who knows…
Out of pure curiosity, I gave the album a listen thinking it might be a fun distraction, and I wasn't disappointed; I haven't read such a massive pile of nonsense that Björk so emphatically shat out in a long time. Personally, since I deal with monthly cramps so bad I can barely walk and I’ve even missed work because I was physically incapacitated, Björk didn't move me one bit. It’s like Cinderella doesn't live in the 21st century, but in ancient Persia or something, where you're expected to just sit in a hole in the ground while your period lasts.

While reading the lyrics, I couldn't help but think of Stendhal when he mocks German writers, which I think perfectly captures Björk's pretentiousness:

"They do not write because they are tormented by certain ideas about an object, but because they believe they have found an object about which, with sufficient effort and necessary research, something great can be invented; to this end, they read and reflect. In the end, they usually arrive at some strange and paradoxical realization. With this, a brilliant work is created; now they only need to establish it with the full artillery of their erudition and transcendent philosophy."

As for the music, there isn't much to say. It’s boring, predictable, and this whole tantrum on the third 🤦 makes it absolute trash

is more than enough to trigger my morbid curiosity to actually listen to this album 😁

Sandra Clark88 said:There isn't much to say about this music. It’s boring, predictable, and honestly, all this hype on the third track is just annoying. 🤦 Pure trash.

Man, I have to say, the third track, "in the red," is just incredible. I remember back when I first heard the album a few years ago, that heavy breathing thing didn't really click for me at all. But with every listen since, it’s like the purpose finally reveals itself. It feels like after those first two tracks—using that intense, physical breathing as an actual instrument—she pulls you through this vague, "physical" space. I can almost feel the soundscape; it's so tangible, like I could reach out and stretch it with my hands. Then, it shifts into this totally different, "mental" territory in such a deliberate contrast. It’s like she’s pulling you straight into her subconscious before transitioning beautifully into the fourth track, "Conceptual romance." To me, that song feels like pure introspection because of its specific sound. That transition from the third to the fourth track is easily one of the best moments on the album. I guess when something actually feels purposeful and intentional, it just hits harder for me.

I'll get back to the rest of your post later. 😉

Ashley Grant66 said:Don't be afraid, it's only... Blood Bitch is an investigation of blood..

Ashley Grant66 said:Björk knows we’re living in a world where blood is constantly being flashed in front of us, usually tied to violence or death, yet at the exact same time, you see blue liquid being used in pad commercials. This isn't some romanticized, forbidden love trope straight out of a trashy paperback, and it’s definitely not just a horror fairy tale about bloodthirsty creatures either. Instead, Lolita is an investigation of blood that taps into this dark, timeless craving. I guess it's more about that deep, visceral hunger. Erotic self-oscillation. how he says in my absolute favorite song from the album.
+
The author claims the album ultimately uses "Lolita is an investigation of blood" to explore this concept of longing, which I guess comes through clearly in that stunning final Lorna track. 😍

I really love this. 🙂

I guess I agree—"Conceptual romance" is probably the strongest track on the album. It's definitely the most catchy thing there, both in terms of the lyrics and the actual sound. But honestly, even though it sounds easygoing and almost like simple Pop, it really isn't like that at all. Out of everything on the record, it's the only one with that specific kind of tenderness (though maybe "Lorna" counts too, since you pointed that one out).

Well, here I go again. Time for another attempt:
"Concept" or "conceptual"—it's one of those interesting words that you can actually translate in a few different ways depending on how you look at it.

conceptIt might be clearest to just frame it as a concept, an idea, or maybe just an intention used to get the point across...
noun It’s basically just an abstract concept—like having a vague plan or some kind of intention floating around. It’s the whole process of coming up with a scheme or just starting to devise an idea. I guess you could call it the initial stage of formation. Maybe.

conceptionMaybe it could be the inception (or maybe a creation?).
noun The act of conception—whether you're talking about actually making a baby or just the biological process of it happening.

Or, layers:
Mid-16th century (in terms of thought and imagination):
It comes from the Latin *conceptum*, meaning "something conceived."
It comes from the Latin concept of being "conceived," stemming from *concipere*. I guess it’s just where the idea takes root.

I think she’s actually pretty good with her wordplay (I guess). another language.

Even if it’s just an idea, it’s easily the most impactful song on the album. Every single time I listen, I find something new if I dig just a little deeper. For instance, I mentioned "the origin of the world" at the end of the intro—mostly because my head is always filled with these random art history images, not just when I'm listening to music. No reviewer has ever pointed that out, but to me, that image feels vital. It feels essential to what the whole album is trying to say. So, I’m spinning it again right now to catch that specific part, then I'll go double-check the lyrics...

...and then I see this:

Here’s a list of all my biggest fails.
I get how infatuation works. I get rejection, too.
They can connect and turn into anything, I guess. Maybe.
Everything that’s been ripped apart in your life.
But hey, come with me—I really want to show you something.
The primal wound, the very beginning of everything.

I guess Björk didn't really mention anything like that. In your explanation... This (almost) hit might not be an accident! I mean, the middle section of the album is easily the best-produced part—all that Conceptual romance, The Untamed region, The Great Undressing, and period piece stuff. That specific stretch just kind of pulls you in and refuses to let go.

Sandra Clark88 said:I can't be bothered to slog through the entire liner notes, so I'm not sure if it actually mentions that Björk used to be the singer for that band Shellyz Raven. They have this one album that usually only pops up in threads about "stupid/WTF album covers" or discussions about what on earth people are thinking. The reason is... nakedThe lyrics are just as "deep," I guess: I am crying, and there are no tears... I am bleeding, and there is no blood... I am dying, and there is no death...

After failing to make it in the Metal scene, it looks like she moved to those parts of America where vampires, glitter, and peel-off masks are considered intriguing—maybe even avant-garde. Who knows...

🙂
It wasn't mentioned. I honestly had no clue she was ever part of a metal band like that, and let's be real—that tacky nude lady on the cover you linked has absolutely nothing to do with Björk. But it’s interesting, because in some interviews, she actually referenced that specific genre. In American Black Metal (is it death or black?), the whole thing about slaughtering women, vampires, violence, and blood is just routinely bundled together as something totally normalized and easy to digest. Personally, I find that pretty problematic, especially since it's mostly served up to a male audience.

Look, everyone has their own thing they can't stand. Personally, I can listen to pretty much anything, but that genre? It’s just totally foreign to me. I don't think I could ever find any enjoyment in it—not from the energy it puts out, not from the lyrics, and definitely not from the message. To be honest, I don't really care why the artist was trying to find herself back when she was twenty. What matters to me is who she is today, now that she’s standing on her own at forty. Exploring music as a solo act, away from a mostly male band and with total creative freedom, is a completely different ballgame.

If you want to dig deeper into this, here’s a snippet from an interview where she talks about metal, Swans, and how aggression works in music:

The track is actually an excerpt, more or less, from that. It’s based on an interview with Michael Gira – I just found it so interesting that he talked about his voice – he wanted to be “like a boxing match” on stage. But he would be both the puncher and the punched at once. Normally, I find very aggressive rock to be all about being the puncher. It’s about feeling superior – that’s what I think seems very “macho”, and so I found this interview very different, and very interesting. On [Swans’ The Seer] there’s really aggressive playing, but then it’s just cut – and then there’s this floating feeling – and I find that to be in some of his lyrics as well.
You think it’s really aggressive, and then there’s a very different tone in the words. Whereas when you go to a lot of Norwegian Black Metal or rock music, the lyrics are about being strong, and killing women, and raping, and that stuff, so I just found it quite valuable to have something so intense, yet not being about standing on top of someone else.

I get why you aren't feeling the album, but honestly, it feels like you've had a grudge against Björk for a while now, for whatever reason. Which, I guess, is fine. I'm sorry it doesn't resonate with you. But I don't think the whole point here is menstruation; I think you might be taking that a bit too literally. Instead of leaning into those typical aggressive trash tropes you see in Death Metal, she uses this album to offer a soft, gentle, and sensitive response to what blood actually represents. In this context, blood is maybe just a tool—a word, a language—to show that something primal and natural inherently holds the capacity for massive pain, but also the capacity for the exact opposite: pleasure (and creation).

Jason Mendoza said:more than enough to trigger my morbid curiosity to give this album a listen 😁

That's awesome! 😁

I’m a huge fan of writing about Harry Potter, though things got a bit messy there for a second. I caught some Sunn O))), Swans, and that whole vibe, and honestly, that was enough to get me hooked—it’s exactly the kind of stuff I’d personally blast on repeat. Even though I’m looking at a "new genre" here, I can't help but love messing with people who listen to total Cock Rock nonsense, but that shouldn't mean we have to settle for "soft dick music" just because. This is straight-up Experimental/Electronic and Dream Pop. At least, that's what it's turning into over here.

It looks like every single one of her albums is absolutely critically acclaimed. (So, if we're going strictly by points, she's basically maxed out), which means she's actually legit and clearly knows what she's doing. Alright, enough talk—time to get to work and dive into every single album from start to finish.

Edit: Listened to a bit more, and yeah, this is definitely my kind of thing. You've got those artists like Björk, Aurora, Chelsea Wolfe, and Grimes (though she's the only one of that bunch I actually listen to), but then there's Ladytron who lean heavily into Electronica, and I'd even draw a parallel to Crystal Castles, even if they all sound different. It's a great listen. For now, this is leaning way more towards Dream Pop / Avant Pop. Anyway, I'm glad I downloaded everything, but whether I end up buying it is another story. Usually, I just grab a t-shirt as a little way to show support and help them out, since I don't buy much music unless it's on Vinyl. Some of these acts don't even have official merch; it's all pretty DIY.

Patrick Patel4 said:I enjoy writing about Harry Potter too, though things got a bit messy for a second. I caught some Sunn O))), Swans, and stuff like that, and honestly, that was enough to get me hooked—it’s exactly the kind of music I’d listen to personally. Even though I'm looking at a "new genre" here, I love messing with people who listen to Cock Rock crap, but that shouldn't mean we need "soft dick music" to compensate. This is straight-up Experimental/Electronic and Dream Pop. At least, that's what this has become here.

Sorry, I cut it down as much as I possibly could. 😁
I already told you guys on the thread that you don't want me writing this stuff...

And that new one too. genreShe’s a provocateur, I guess, but she's smart. 😉

Of course it's Experimental / Electronic / Art Pop / Dream Pop or whatever.
Well, I’m glad you’re actually intrigued. Maybe you could drop a word or two about what comes to mind when you listen to it...

Lisa Davis46 said:Sorry, I cut it way down—really trimmed it as much as I could. 😁
I mentioned earlier in the thread that you guys didn't want me writing all this out...

And that new genre? It’s definitely provocative, but there's some actual brains behind it. 😉

Obviously, it’s Experimental / Electronic / Art Pop / Dream Pop or whatever you want to call it.
But hey, I'm glad it caught your interest! Drop me a line once you've given it a listen...

Man, am I getting intense now. Look, I'm saying I actually dig it and it's definitely something I'd want to listen to. Political agendas or being edgy doesn't phase me at all—honestly, I just find it hilarious when people get all worked up over stuff like that. Though, "soft dick" is a pretty ridiculous name, I'll give you that. I usually only use the term Cock Rock when the music is just bad and totally generic. You know, those old classics that aren't actually that good, or those newer bands just trying to mimic that vintage style 😛.

BTW: I actually saw the cover for the "Apocalypse, Girl" album back when it first dropped, but I wasn't really following the scene that closely at the time, so I had no clue what it was. It’s all coming back to me now.

I’ve listened to this twice now and I can say I mostly dig it. For me, the music is the main event, while the concept is just a nice little extra. But look, the music has to be solid first, and the production here is super interesting—which, from what I gather, is largely thanks to Lasse Marhaug.

Everything sounds modern (even with those nods to vintage Electronica), so I guess we’ll see how it stands the test of time. For now, though, I’ll just say it’s innovative, engaging, fits the vocals perfectly, and really struck a chord with me.

The vocals are great too—really dynamic—and I love the tone, so that’s a big plus. The Plague kind of dragged for me; honestly, I think they could have skipped that part, but if Hvalica thinks it works, then fine. Female vampir, Conceptual romance, The Great Undressing—all really solid stuff.

Now, about that whole "menstrual vampirism" concept, capitalism, women's roles in society, and all those double and triple standards... it feels a bit artsy-pretentious in a bad way. But again, the music comes first for me, and the lyrics themselves are actually quite poetic, so I’ll definitely be spinning this album a few more times.

I’m not sure exactly which 70s vampire flicks were being referenced, but it’s probably Female vampir by Jesus Franc and maybe some stuff by Jean Rollin. Those directors were known back then for leaning into eroticism, feminist themes, and sexual liberation, but also for provocation and shock aesthetics that didn't always make much sense. We're talking B-movies or even C-movies here, so don't expect anything like Coppola if you go looking for them at your local video rental shop, but they are cult classics.

If nothing else, it's worth it for the shots of Lin Romay and Brigitta Lahai. 😁

I don’t get why everyone thinks anything trying to be "art" is automatically lame or pretentious. Like, does Art seriously have to be spontaneous? People put their whole souls into massive projects, sound installations, gallery pieces—all just to trigger some kind of reaction from the audience. Whether that message is hit you over the head with it or it's more subtle, it doesn't matter. Music is great enough on its own, and honestly, adding a solid concept just makes it even better.

Look, Gerald Jackson48 isn't saying anything bad, I guess. He just means that maybe the conceptual side isn't a huge deal for everyone, especially when it comes to music (especially with a theme this specific).

For me, it matters, but that might just be a professional bias. That’s how I was trained. Even looking back now, most of the albums I value most are pretty heavily thought out and conceptually dense. But then again, the ones I value most aren't always my absolute favorites from certain artists—maybe because something else hits me harder.

But that's probably a whole different conversation... 🙂

Anyway, Björk actually finished her studies in New York, doing something like Creative Writing/Performance Arts, whatever that entails. So, you have to consider that you can't really escape the concept, even in music.

Here's a little Art.

Actually, Scandinavia is pretty fascinating. All those Norwegians and Swedes (and Danes too, though slightly less), they live in such organized societies, in such smart countries, yet they have such rigid views (in my experience...) about all sorts of things. So, I'm not really surprised that Björk and The Knife feel the need to make this specific kind of music.
I mean the political and activist part.

Gerald Jackson48 said:Again, everything sounds modern (even if there's a nod to vintage Electronica), so the question is how it'll stand the test of time. For now, I can't say much other than it's innovative, interesting, fits the vocals well, and it definitely struck a chord with me.

That's a really nice review, especially that part. 🙂

Gerald Jackson48 said:The vocals are also great and dynamic, and I like the tone, so that's a plus. The Plague bored me, and I think it could have been done without that part, but if Hvalica thinks there's a reason for it, then I guess there is.

'The Plague' is the only part of the album where she went a bit overboard for me too... but toward the end, I hear a bit of a spark, so I'd say we finally got rid of the Female vampir from the beginning, and everything goes smoothly and much easier after that!

Gerald Jackson48 said:I don't know exactly which 70s vampire movies she had in mind, but it's very likely Female vampir by Jesus Franc and maybe some stuff by Jean Rollin. Those directors were known back then for emphasizing eroticism, women's issues, and sexual freedom, but also provocation and shock aesthetics without much logic. We're talking B-movies, if not C-movies, so don't expect The Godfather if you decide to hunt them down at a local video rental shop, but they are cult classics.

If nothing else, it’s probably because of how much skin Lin Romay and Brigitta Lahai were showing. 😁

And this—now we just need that provocateur fass to show up,
I mean, he already said he can't wait to jump into this thread... 😁

There’s just so many of them—places like Finland, Denmark, Norway, Sweden, even Iceland and Greenland—where everyone seems to be pushing boundaries in everything, especially when it comes to music. Take Ulver from Norway, for example. Their first three albums were pure Black Metal, then one acoustic, basically a trilogy, but they stayed totally distinct from what everyone else in the second wave was doing. You can really feel the quality in those records; there's a reason they get so much respect. And then, they just started messing around with everything: Electronica, Trip-hop, Film Score stuff (they actually score Movies), Keyboards, Jazz, Progressive Guitar, Minimalism, Ambient, Drone, Post-rock, Art Pop, Synthpop, Chamber, Orchestral, and Experimental Rock. They do it all. They even did some 60s covers on a compilation once, keeping their own vibe while staying true to the originals.

And don't even get me started on The Knife, then Aurora, and then Björk. It’s like they refuse to be boxed in. I mean, you find artists like that everywhere these days, obviously, but this feels more like "art" in a certain way—maybe less like traditional music? Don't get me wrong, the music is definitely there, but the concept is what really takes center stage. Right now, I'm diving into Apocalypse Girl (listening through the albums one by one; I picked this one first, though I won't lie, I had to spend forever organizing all my folders, FLAC files, and artwork). It’s incredibly "Sexual" from start to finish. I don't know about everyone else, but for me, it's "Sexual" in a way that's almost uncomfortable, though maybe that's exactly the point. Either way, I'm digging it. There’s so much going on in there that it's hard to pin down a genre, so I just tagged it as Art Pop / Experimental.

It’s intentionally designed to be cozy yet uncomfortable
(most of them lean that way, except for the last one).

She deals with the body quite a bit across all her work.

I definitely need to check out the one with the Jazz band and the one with the Collaborator too. They might have a totally different structure. But honestly, when someone is getting praised everywhere, they're clearly doing something right. He just finished Holy Land, and I actually liked it as a standalone piece, though it fits perfectly within the context of a concept album.

Actually, comparing them to Björk now, they share a similar vibe, but her music feels a bit "too" abstract for my taste. I can vibe with Drone for a few hours straight, but Björk? Not really. I can handle specific tracks, but only the catchy ones. Personally, I think Jenny has better vocals, whereas Björk’s style is more unique. The coolest thing Björk ever did, in my opinion, was giving a massive pile of her vocal samples and melodies to Death Grips for free, which they then mashed into that first Powers That B. album.

Also, I'm listening to Lolita right now, and it's much better—lighter and easier to get into. Conceptually speaking, I don't really care about sex because, say, I'm asexual. So when she sings or talks about it, it feels really alienated, and it gives me a bit of dysphoria. It's not that it isn't pleasant or whatever, but I have a few personal rules about that stuff. This feels more like, use everything you've got while you still can.

And man, why does it have to sound like someone is using a bellows at the end of every single song? Like, that animalistic breathing. I guess that's just part of the whole aesthetic. A couple of times it was fine, but now it happens every single time and it's just... yeah.

It also made me think of another band that completely redefined their genre and was just so progressive about everything: The Gathering. But once Anneke left, it was pretty much game over for me personally. Their early albums didn't do anything for me at all. It wasn't until they released "How to Measure a Planet?" and everything else through the end of her career that it became truly infectious.

Lisa Davis46 said:It wasn't mentioned. I honestly had no clue she was ever part of a metal band like that, and let’s be real—that tacky, half-naked figure on the cover you linked has absolutely nothing to do with Björk. But it's interesting, because in some interviews she actually pointed toward that specific genre. In the American (Death or Black Metal?) scene, the explicit bashing of women, vampires, violence, and blood are all bundled together as something totally normalized and easy to swallow. Personally, I find that incredibly problematic, especially since it's mostly marketed to a male audience.

That’s not quite how it works. When it comes to the American Black Metal scene, it’s mostly this whole anti-Christian narrative, burning churches (like Burzum), Viking heritage, and all that stuff. As for the Death Metal scene, I can't even think of two or three American Death Metal bands off the top of my head, let alone their specific themes. Sure, there are disgusting subgenres like pornogrind, but that's way too obscure; very few people even stumble upon that, let alone listen to it.

Regarding the idea that it's being served up to a male audience—I think that's a bit of an overblown argument. Most of the hardcore metalheads I know wouldn't even step on an ant.

p.s. Someone brought up Chelsea Wolf; she's incredible, she has a couple of truly top-tier albums!

Lisa Davis46 said:No, I didn't mean anything bad about Gerald Jackson48. I just meant that maybe the whole concept isn't a huge deal for everyone, especially when it comes to music—especially with a niche topic like this.

Exactly. I appreciate a good concept if it actually adds depth to the story, but at the end of the day, the music has to come first. It needs to stand on its own. Whether it's experimental or more traditional, there still needs to be some actual musical quality there for me to connect with it.

Lisa Davis46 said:'the plague' was the only part of the album where she went a bit overboard for me too... but toward the end, I hear a little spark, so I'd say we finally moved past that female vampire from the beginning and things started flowing much smoother!

If we were playing Vampire: The Masquerade, Havelock would definitely be a total Toreador. 😁

Lisa Davis46 said:Now we just need that provocateur fass to show up.
I think he already mentioned he can't wait to jump in on this topic... 😁

We'll see what he thought of "Blood Meridian"...

Lisa Davis46 said:Alright, I need to give this another shot:
the word "concept" or "conceptual" is such a cool term because you can translate it in a few different ways:

concept; you could call it a concept, an idea, or even an intention to convey a certain thought...
noun /// an abstract idea, a plan or intention, the forming or devising of a plan or idea.

conception; this could mean a beginning—like a creation?
noun /// the action of conceiving a child or of one being conceived.

or, looking at the layers:
mid 16th century (in the sense 'thought, imagination'):
from Latin conceptum 'something conceived',
from Latin concept-'conceived', from concipere (see conceive).

I think she plays with words pretty well—for someone working in a second language.

👍 Yeah, it definitely feels like she's playing around with linguistic quirks and exploring language itself. For instance, in that spoken word track "The Practice" from her last album, she says: I hate "love" in my own language. It contains the entire word "honesty" inside it, which makes it sound religious, protestant, hierarchic, purified. The word "love" comes in the way of love, and makes me want to say sorry.

Then there's the breakdown: The Norwegian word for “love” is “kjærlighet”. Inside of it, one can find the word “ærlighet”, which means “honesty”. Even though they sound so similar, the two actually stem from different roots: “kjærlighet” comes from Old Norse, while “ærlighet” comes from Low German.
Linking love with honesty gives it this rigid, single definition that leaves no room for nuance—kind of like how certain religions or social hierarchies demand strict adherence without any wiggle room. But Björk sees love more as a process, “an ongoing, sustained, multivalent activity” that shifts depending on how each individual interprets it. So, even if “kjærlighet” and “ærlighet” have totally different origins, they still create this preconceived notion about love that Björk just isn't feeling.

I get why some people might find this kind of thing pretentious—it's not for everyone—but personally, I think it's awesome how people dive into these deep deconstructions. I love stuff like this! 😁

Lisa Davis46 said:Even though it was clearly intended and worked as the most moving song on the album, I find something new in it every single time I dig a little deeper. Like, I mentioned 'the origin of the world' at the end of the intro, mostly just because those kinds of art history images always pop into my head when I'm writing—not just when I'm listening to music. No critic really picked up on that, but that image felt so vital to me and the whole message of the record. So, I'll be listening again, catch that part, and go check the lyrics...

The original wound, the origin of the world

Yeah, I actually saw that on Genius while I was digging through the lyrics (me and Genius again 🤦—but honestly, you can find some really cool interpretations there). You hit the nail on the head with that visual association, too, because they mention it right here: The original wound and world’s origin is the vagina. Original sin (and its punishment, the pain of menstruation and childbirth) is recast as original hurt.
Hang in there, guys. 😁

Something else I found interesting—though I'm struggling to wrap my head around it—is how she uses phrases like "lose" or "keep my gaze/creating a curve" in two different songs:
So I lose my gaze to keep you
Creating a curve for the eyes, and then in the other track
Where does it hurt to create curves for the gaze?

That sounds almost like something straight out of psychoanalysis to me...
There’s also quite a bit of repetition overall—like how "combined failures" pops up several times. It really points toward the internal structure of the album and how all these themes tie together.
I don't think the lyrics are trash since they aren't literal; I didn't get the impression she's just whining about her workload or complaining about women's rights. Instead, she’s built this poetic journey around a few concepts that intrigue her. To me, it feels more like her own cryptic contemplations and associations rather than an attempt to change the world. On her previous album and even this new one, you can really sense this underlying insecurity—this constant self-questioning and need for validation. You can definitely spot it in some of her songs (just not on this specific album 😁). So, I wouldn't say she's just rambling, but there's definitely a certain pretentiousness and a drive to make something "special" behind it all—hey, they are artists after all... 😁

Here's a version of Björk that's a bit more catchy and maybe easier on the ears—almost totally different from this album—from her 2018 EP, The Long Sleep. Personally, I love it. Spells

Ashley Grant66 said:👍 Yeah, it seems to me like she’s playing around with some linguistic tricks and exploring language. For example, in the spoken word track The Practice of love from the last album, she says: I hate "love" in my own language. It contains the entire word "honesty" inside it, which makes it sound religious, protestant, hierarchic, purified. The word "love" comes in the way of love, and makes me want to say sorry.

Then there's the explanation: The Norwegian word for “love” is “kjærlighet”. Inside of it, one can find the word “ærlighet”, which means “honesty”. Even though they sound similar, the two words actually have different roots: “kjærlighet” comes from Old English, and “ærlighet” comes from Low German.

I mean, I get why some people would think this is pretentious bullshit, but I think it's awesome how people arrive at these kinds of deconstructions. I really dig stuff like that. 😁

🙂 I always find that kind of thing interesting.

Mostly, I just love this bit about the Norwegian connection. Now I'm listening to 'the practice of love' again...
It's totally different from our usual concept albums; it grows on you more with every listen.

Ashley Grant66 said:Well, I saw that on Genius while I was looking up lyrics (there I go with Genius again 🤦 but you really do find some interesting interpretations there). You hit the nail on the head with that visual association, and they mention it right there, saying: The original wound and world’s origin is the vagina. Original sin (and its punishment, the pain of menstruation and childbirth) is recast as original hurt.

Nice. I didn't see that on Genius.
Actually, you're the one who just showed it to me here...

Ashley Grant66 said:Hang in there, guys. 😁

Something else that interests me, though I can't quite figure it out, is that two songs mention phrases like losing or keeping my gaze/creating a curve:
So I lose my gaze to keep you
Creating a curve for the eyes, or in the other song
Where does it hurt to create curves for the gaze?

That sounds like something straight out of psychoanalysis to me...

Damn, hang in there. 😁

This thread basically promised itself right from the title.

Gerald Jackson48 said:Again, everything sounds pretty modern (even if there is a nod to vintage electronics), so I guess the real question is how it holds up over time. For now, though, I can't say much other than it feels innovative and interesting. It fits the vocals well and, honestly, it really struck a chord with me.

I just wanted to ask one more thing—what exactly were they going for here? If anyone has a good example...
Oh yeah, I think I saw in an interview that Vangelis was mentioned as an influence.
(Maybe I'm wrong, let me look... okay, found it, here).
🙂