i am so happy to announce the release of "oral" a single with @rosalia , tomorrow 21st of november
the profits will all go to stop open net pen fish farming in iceland.
this is a 25 year old song of mine i wrote and programmed inspired by a dancehall beat (the grandmother of reggaeton)
rosalia´s experiments with the genre and her incredible voice made her an obvious guest for the song.
i feel blessed she said yes and she and her team are giving their work and all the profits to this battle.
i think somehow there is an elegant resonance between the fact that both of our voices are the same age on the recording.
i would like to thank @segabodega for co-producing this with me and rosalia.
we have a team of people from the biggest environmental groups in iceland with lawyers that will take on other open net pen fish farming cases, I would like to thank them all for all their hard voluntary work.
industrial salmon farming in open net pens is horrid for the environment. the farmed salmon goes through immense suffering, and it causes severe harm for our planet. this is an extraordinarily cruel way to make food. the fight against the open net pen industry is a part of the fight for the future of the planet.
one of the most severe environmental challenge for the north this century is the acidity of the ocean. in the space of 5 years, norwegian open sea fish farming of companies MOWI and SalMar have already damaged big areas in our fjords , both marine life , animals and plants , which will attribute to that .
we can still reverse this. our legal cases on bio-diversity, cruelty to animals and more could become exemplary cases around the world.
warmthness
björk
you can find a pre-save link for oral here: https://t.co/oZc4qjEmZY
you can support the cause here: https://t.co/fVjQhlejYU
@aegiswatch
artwork by James Merry
He llegado a un punto donde solo me importan las platicas profundas y platicas en las que hablan bien de alguien o de algo. Ya no más critica ni chisme en mi vida.
A DAY IN THE LIFE.
It was a good piece of work between Paul and I. I had the 'I read the news today' – all that bit. And it turned him on, you know. Because now and then we really turn each other on with a bit of a song.
It just sort of happened beautifully. And we arranged it and rehearsed it – which we don’t often do – the afternoon before, so we all knew what we were playing. And we just all got into it. And it was a real groove, you know, the whole scene, on that one.
It had two stories. One was (Tara Brown) the Guinness child that killed himself in a car. That was the main headline story. And on the next page there were about four thousand holes in Blackburn, Lancashire.
It was (written) in Kenwood, the house in the suburbs. I'm on the piano and the TV is going, over in the corner, flickering. And I was just looking for inspiration and I looked down. Do you know those kinds of sections they have in newspapers of top different things that happened? They had about four thousand holes in Blackburn, Lancashire – a real story that the council had spent real money.
The bulk of the song was written entirely by me. Paul's contribution being that little beautiful little lick going into his song, 'I'd love to turn you on' – that melodic little piece there where it changes – is his contribution.
It came to a where I needed a middle eight, but, you know, that would have been forcing it. All the rest had come out smooth, flowing, no trouble. And to write a middle eight would have been to write a middle eight.
We got into 'how about putting a whole different song' which he already had – that had nothing to do with 'A Day in the Life' – which is all about being on the top of the bus in a barber chair. He sang that (middle) bit. He had that one little lick floating around in his head. He couldn't use it for anything. He stuck it on.
And putting those two together was a precursor to the Abbey Road (medley) style, later on.
https://t.co/cc4rFL0gGS