And this is where it all started, when the world first caught the essence of a pixie on screen and forever reached for her celestial elegance. Björk came to the world as part of a unit, as a solo artist she ignited something in us that stimulated, rattled and freed us from our drudgery. Though the 90s were anything but boring, certainly this Icelandic queen’s presence opened up the understanding of visual and auditory excellence, sensuality in which stimulation truly ignites the senses.
Directed by Stéphane Sednaoui, “Big Time Sensuality” was simple, yet unerringly elegant, as we’d come to know the Nordic beauty. Everything about it screamed freedom, almost as loudly as Björk did herself.
Credit to Sirens of Song
These past two days have been emotionally charged for me. Not because something particularly terrible or wonderful has happened to me. Well, that’s not completely true. Something wonderful did happen to me. I finally listened to this young lady’s debut album after teasing myself with two of her songs, and my senses were suddenly bombarded wiht unrecognisable emotions.
Indeed, it was Kimbra’s debut Vows that had me suddenly awash in a torrential flood of feelings I couldn’t quite describe. But it was by chance that I even came to know this woman and her unconscionable vocal power. I don’t really watch a lot of television, but taking a break from the computer I found myself searching my usual cable haunts: Tennis Channel and Boomerang (yeah… I’m old, what can I say?). When neither a match nor a show I was particularly interested in presented itself, I started scrolling through some precautionary favourites, one of which is the MTVu Channel. I caught a glimpse of the video in the small picture-in-picture feature and thought to myself, “What the hell is THIS?!” The video was dark humour at its finest, smart, edgy. Then… that VOICE! As soon as the song was over I had to go back to my computer and find out where the hell a voice like that actually comes from. Apparently, New Zealand. Seems the country is doing big things bigger than anyone else, because I swear on everything I own this girl’s voice is a piece of grandness I’d not heard in someone her age before.
Then we get to the video itself. This pixie of a female with ruby red lips and a penchant for emotional largeness takes over a mental hospital and gives the doctor and his orderlies something to gawk at. Director Guy Franklin captures the quirk and queer of this Kiwi princess. Am I ever glad there was nothing to watch on telly that evening.
Okay… so I’ve been in love with Robyn since 1997 — oh yeah, I was there for her introduction to the world. So when I first heard this song I pretty much thought there wasn’t anything more apt or powerful. Robyn’s always been an incredible singer, but her lyricism and musicality is absolutely surprising. Her self-titled Robyn is one of those albums that completely encapsulates the artist, ensuring that the world knows exactly where she’s coming from. Indeed, the entire piece was wrought with songs that were blunt, cocky and gave the entire world an unequivocal look into the passion and personality of the effervescent artiste.
“Handle Me” is pretty much as bad ass as any song that I’ve ever heard. As my first favourite MV of 2013, I consider it an omen of grand things to come in my future. I’m going to put it out there, that I’m a force to be reckoned with. Let’s see if I can pull it off, live up to the brash and unapologetic craziness of this video. It’s definitely an MV that plays with the senses, shocking the system with its play and whimsy. When coupled with the lyrics, you get a peek at Robyn’s sense of play and visual contradiction. As the director for the second version of the video (and officially the one I chose) Johan Renck pushed the visual landscape and gave us all something to admire in the glory that is Robyn’s body of work and sense of imagination.