Bjork Lossless Surround

[César]

i’m seeing the same thing. the premiere wasn’t supposed to happen until 10pm EST. did it get pushed early?

Oh, I read somewhat that it went live at 7 pm PT time

 

[stoopid]

10PM EST is 7PM PST, which is 6 hours from now.

 

[PurpleMoustache]

Up now in two forms

The first is with video, presented as a “playlist” of videos.

There is also an album release of the same material and mixes, sans visuals:

The Zane Lowe interview linked earlier is also available on YouTube. I listened to it in the office when it first came out, and it was interesting but no comments were made about Atmos. It’s mostly about the concert film, artistic process, and a tease of new music (recorded around 2021, “completely different” to Cornucopia). Apparently this is her first filmed interview since 2018

 

[onbehalfofandycherry]

Up now in two forms

The first is with video, presented as a “playlist” of videos.

There is also an album release of the same material and mixes, sans visuals:

The Zane Lowe interview linked earlier is also available on YouTube. I listened to it in the office when it first came out, and it was interesting but no comments were made about Atmos. It’s mostly about the concert film, artistic process, and a tease of new music (recorded around 2021, “completely different” to Cornucopia). Apparently this is her first filmed interview since 2018

and the full (for now) apple version is up on apple tv+. not sure if this was mentioned here but the complete (98 minute) version will be available in theaters and later on blu-ray.

 

[jaybird100]

Stereo purists are weird.

I get the "Oh they expect us to buy everything again for their new format" argument... but anyone who's listened to a good 4.0, 5.1 or Atmos mix of a great album back-to-back with the stereo and tells me they want the stereo to be the one they hear for the rest of their life... I'm pretty tempted to call them a liar. Good surround mixes continue to provide me with revelations in tiny details now presently clearly due to the multichannel format, even with albums I've heard since childhood.

Surround sound is WASTED on cinema when compared to music! No movie is going to make such consistent use of surround and height channels as someone creatively mixing an album from a 24-track music source. Maybe this part is just my brain, but I can much much more easily get immersed in being in the studio with the band/session players around me in a circle, than I can believe I'm in a movie scene where the camera angle is constantly cutting and the surround space is changing with it, while I'm sitting still..

The same mindset would have rejected stereo for mono, and there are still weirdos who complain about stereo panning.

I've been making this same argument for years. Music, recorded initially on 24 tracks or more, could sound extremely cluttered if the mixer wanted to get everything on those tracks down to two channels. The extra channels, when used by a mixing engineer with a good working knowledge of quad and multichannel, can make it all come together just fine (or at least most of it) and keep the sound uncluttered, making it all sound right. I use Fleetwood Mac's "Never Goin' Back Again", from the "Rumours" DVD-A 5.1 mix, where a guitar solo by Lindsay Buckingham, is reinserted into the rear channels during the instrumental bridge. I made a QS-encoded
version of the track so I could play it in my car. It sounded great; no clutter!

 

[somethingcleveridunno]

I've been making this same argument for years. Music, recorded initially on 24 tracks or more, could sound extremely cluttered if the mixer wanted to get everything on those tracks down to two channels. The extra channels, when used by a mixing engineer with a good working knowledge of quad and multichannel, can make it all come together just fine (or at least most of it) and keep the sound uncluttered, making it all sound right. I use Fleetwood Mac's "Never Goin' Back Again", from the "Rumours" DVD-A 5.1 mix, where a guitar solo by Lindsay Buckingham, is reinserted into the rear channels during the instrumental bridge. I made a QS-encoded
version of the track so I could play it in my car. It sounded great; no clutter!

Your car has a QS decoder? I could believe Dolby Surround but, QS? I am puzzled!

And yes, I know exactly the passage you mean, I never heard that little electric part with the volume pedal clearly in the stereo mix.

It's the difference between voices blending together, and being able to clearly pick out which notes Christine, Stevie and Lindsey are singing at the end of "Say You Love Me," and I love being able to hear that detail.

 

[humprof]

Up now in two forms

The first is with video, presented as a “playlist” of videos.

There is also an album release of the same material and mixes, sans visuals:

The Zane Lowe interview linked earlier is also available on YouTube. I listened to it in the office when it first came out, and it was interesting but no comments were made about Atmos. It’s mostly about the concert film, artistic process, and a tease of new music (recorded around 2021, “completely different” to Cornucopia). Apparently this is her first filmed interview since 2018

I've remained loyal to Bjork, more or less, in part because of her interest in aural and visual "immersion" of all types--which she's expressed in a variety of media, but especially in ever-wackier and more baroque stage shows like this one. The Atmos mix on the audio-only version is pretty good, especially considering that it was done more or less on the fly (I guess?). And visually the show is just stunningly inventive, even in two dimensions. Makes Peter Gabriel look like an amateur. One of the handful of times I wished I had a large-screen TV.

But as for the music, well...I know she's lost a lot of fans over the years, and I get it. But I'm not ready to abandon her. Like other fans who've weighed in here, I'm also most compelled by the early albums, and after Volta less and less of what she does keeps my attention. Still, I thought Vulnicura was consistently good, and Biophilia, Utopia, and Fossora all have their moments.

I suppose her lyrics were always full of new-agey self-actualization and eco-bio-eccentricity, but in the old days that stuff was secondary to the cool things she was doing with beats, plus her song structures were still recognizably poppy for the most part, so you could get lost in the music and ignore the lyrics if you wanted to. But 90% of her recent work (including this stage show) is just shapeless, sluggish, grandiose vocalizing; it's like she's warbling improvised operatic recitatifs over the same arbitrary handful of semi-melodic motifs. (I can't help thinking of Will Ferrell in Elf: "I'm SING-ING...I'm in a store and I'm SING-ING...!)

Anyway: bless her; I can't think of any other contemporary artist who's so committed to pursuing and realizing her own vision. And if I can't always follow her all the way, that's on me!

 

[GOS]

I've remained loyal to Bjork, more or less, in part because of her interest in aural and visual "immersion" of all types--which she's expressed in a variety of media, but especially in ever-wackier and more baroque stage shows like this one. The Atmos mix on the audio-only version is pretty good, especially considering that it was done more or on the fly (I guess?). And visually the show is just stunningly inventive, even in two dimensions. Makes Peter Gabriel look like an amateur. One of the handful of times I wished I had a large-screen TV.

But as for the music, well...I know she's lost a lot of fans over the years, and I get it. But I'm not ready to abandon her. Like other fans who've weighed in here, I'm also most compelled by the early albums, and after Volta less and less of what she does compels my attention. I thought Vulnicura was consistently good, though, and Biophilia, Utopia, and Fossora all have their moments. I suppose her lyrics were always full of new-agey self-actualization and eco-bio-eccentricity, but in the old days that stuff was secondary to the cool stuff she was doing with beats, and her song structures were recognizably poppy, for the most part, so you could get lost in the music and ignore the lyrics if you wanted to. But 90% of her recent stuff (including this stage show) is just shapeless, sluggish, grandiose vocalizing; it's like she's warbling improvised operatic recitatifs over the same arbitrary handful of semi-melodic motifs. (I can't help thinking of Will Ferrell in Elf: "I'm SING-ING...I'm in a store and I'm SING-ING...!)

Anyway: bless her; I can't think of any other contemporary artist who's so committed to pursuing and realizing her own vision. And if I can't always follow her all the way, that's on me!

Gary Numan.... why no Atmos?

 

[himey]

Reference audio and visuals. I can't imagine how good this will look in 4K HDR. Watching her perform, I think it's easier to take in each song, rather than grasping an entire album, although I have listened to Fossora enough to pick out the individual tracks. Once I got over that mask freaking me out, I really enjoyed this preview.

 

[H.A.L.]

Message me when her original box set is in Dolby Atmos. Otherwise, I'm happy.

 

[stoopid]

I've remained loyal to Bjork, more or less, in part because of her interest in aural and visual "immersion" of all types--which she's expressed in a variety of media, but especially in ever-wackier and more baroque stage shows like this one. The Atmos mix on the audio-only version is pretty good, especially considering that it was done more or on the fly (I guess?). And visually the show is just stunningly inventive, even in two dimensions. Makes Peter Gabriel look like an amateur. One of the handful of times I wished I had a large-screen TV.

But as for the music, well...I know she's lost a lot of fans over the years, and I get it. But I'm not ready to abandon her. Like other fans who've weighed in here, I'm also most compelled by the early albums, and after Volta less and less of what she does keeps my attention. Still, I thought Vulnicura was consistently good, and Biophilia, Utopia, and Fossora all have their moments.

I suppose her lyrics were always full of new-agey self-actualization and eco-bio-eccentricity, but in the old days that stuff was secondary to the cool things she was doing with beats, plus her song structures were still recognizably poppy for the most part, so you could get lost in the music and ignore the lyrics if you wanted to. But 90% of her recent work (including this stage show) is just shapeless, sluggish, grandiose vocalizing; it's like she's warbling improvised operatic recitatifs over the same arbitrary handful of semi-melodic motifs. (I can't help thinking of Will Ferrell in Elf: "I'm SING-ING...I'm in a store and I'm SING-ING...!)

Anyway: bless her; I can't think of any other contemporary artist who's so committed to pursuing and realizing her own vision. And if I can't always follow her all the way, that's on me!

You succinctly explained why I respect her art from a distance. I'll grab certain albums as they (hopefully) get physical media releases, everything else she does is intended for someone else.