All is full of love

from Wikipedia, the free encyclopedia
All is full of love
Bjork
publication June 7, 1999
length 4:32 (album)
4:50 (single)
4:10 (music video)
Genre (s) Ambient (Album Version)
Trip-Hop (Video Version)
text Bjork
music Bjork
Label One Little Indian Records
album Homogenic

All Is Full of Love (German : All is full of love ) is a song of the Icelandic musician Björk from her third studio album Homogenic from 1997. The English lyrics are inspired by love in the spring and Nordic mythology and the gods forecast Ragnarok . Björk's original version is a trip-hop ballad with soul influences, harp , string instruments and electronic beats; the album version is a minimalist remix by Howie B that emphasizes Björk's vocals. A remix by the German IDM duo Funkstören was released as a single in 1998.

In 1999, All Is Full of Love was released as a single with a music video by Chris Cunningham . The video uses Björk's original mix and shows the singer as a humanoid robot that is assembled in a factory and then passionately kisses an identical robot. The video is often rated as one of the best of all time and a landmark in computer animation . It has been featured in art exhibitions , and replicas of the two robots were on display at the Museum of Modern Art in New York City in 2015 .

The single reached number 24 on the UK Singles Chart and became a dance hit in the United States. All Is Full of Love is the opening track of the compilation Greatest Hits (2002), the tracks of which were voted by the fans. Several musicians covered the song.

composition

Björk produced the studio album in Málaga in southern Spain and was inspired by the spring there. After living in the mountains with few people for six months, Björk felt lonely, but a morning walk in April inspired her to write the track. After a harsh winter, she recognized the approaching spring by the song of the birds. She wrote and recorded the song in half a day.

The song has a tempo of 72 beats per minute in the typical ⁴ / ₄ time and was written in the key of B flat minor , as can be seen in the chorus :

{\ new PianoStaff << \ new Staff {\ tempo 4 = 72 \ clef violin \ key bes \ minor \ time 4/4 {aes'4 c''4 f'8 aes'4 aes'8 (aes'2. ) r4}} \ addlyrics {All Is Full of Love -} >>}

According to Slant Magazine, the album version “gently builds up from a warm hexadecimal buzz” and “gets going while Björk frees himself from the burden of anticipation until cascades of shimmering, opal harpsichord notes emerge from a curtain of shimmering white noise . "

song lyrics

The studio album is a tribute to Björk's home island, which is why the song is inspired by the Icelandic mythology Ragnarök . The previous track Pluto symbolizes death and destruction, while All Is Full of Love stands for a new beginning. Björk also called it a song about “believing in love” and expressed that “love is not just between two people. She is all around you. Even if you don't get love from person A, it doesn't mean there isn't love there ”. She also described it as “taking the piss” and called it the “sweetest song” of all time. Since the song contradicts the rest of the “macho” aesthetic of the album, Björk said it could have appeared on the follow-up album Vespertine .

The text begins in the first stanza with a promise of protection and care:

"You'll be given love
You'll be taken care of
You have to trust it"

“You will be given love.
You will be looked after.
You have to trust "

The song moves in the direction of a more reproachful tone when Björk sings:

"You just ain't receiving
Your phone is off the hook
Your doors are all shut"

"You just don't receive
your phone is picked up
Your doors are all closed"

The text leads to the request that “you have to turn your head around you” because “there is love around you”.

This is musically influenced by Björk's singing by singing the text All is full of love in counterpoint to herself. Björk told Q Magazine in October 2007:

“Sometimes the words will come in one go.
I went out for a walk in 1997
and All Is Full of Love came out at once. "

“Sometimes the words come in one go.
I went for a walk in 1997
and All Is Full of Love came out all at once. "

The instrumental intro is followed by three stanzas , each with three lines of lyrics, before the song passes over a pre-refrain to the chorus with the multiple loop of the song title and ends in the outro.

Sound design

The album version of the track does not contain any drum accompaniment and can be assigned to the musical genre Ambient . It does not contain the characteristic electronic beats of Homogenic , and instead focuses on creating "an intimacy between the growing momentum of instrumentation and Bjork's impressive vocal abilities". The long reverberation results in a soundscape that suggests a very large room and a "heavenly" environment that the track is striving for. According to Sal Cinquemani of Slant Magazine , the song has a gentle pulse with intervals that build up into an electronic orchestration of industrial beats. David Browne of Entertainment Weekly , the piece called a "dreamy lullaby " and compared it to the New Age music from Enya . In a review for the American music magazine Spin , James Hunter wrote that the track was one of the moments when Björk “dips her toe into the warm lake of tradition” and he added that his “rocky minor verses in hers Gospel drain ”.

The video version of the song is a mid-tempo trip-hop ballad with soul influences. In contrast to the tonally minimalist mix on the album, this version was described as "lushly produced" because of its "fluttering" harps and "trembling" strings. The supposedly preferred version of both Björk and her fans is still known as "Mark Stent Mix" and "Video Mix".

publication

All Is Full of Love is the last track on the album and also the last song to be written, composed and recorded. The original version of the song by Björk produced was "last minute" by a remix version of the British music producer Howie B replaced.

In August 1998, a 12-inch single from All Is Full of Love with a remix by the German IDM duo Funkstören was released in a limited edition via FatCat Records . This remix was previously released as the B-side for the song Hunter (1998) and another remix of the song was released in 1998 as the B-side by Jóga . On January 10, 1999 it was announced that a music video would be shot in London from January 20, 1999 and the song would be released as a single a few months later.

A single to promote an album released two years earlier is uncommon, but Björk made a conscious choice to do so, so the music video was more of a short film than a marketing move .

The original release date for the single was May 2nd, 1999, but was postponed by two weeks to May 17th. In keeping with this announcement, the remix of Funkstistern has been made available again and an official logo has been revealed for publication. The music video was released back in April 1999, although the single's premiere was postponed to June. All Is Full of Love was released on two 12-inch singles, two CD singles, one DVD single, and in a box set that contained the CD singles and the music video in VHS format . Some publications consider the single to be the first ever DVD single release. Two different promo singles and two VHS singles were also offered in the UK in 1999 . The B-sides include remixes of μ-Ziq , radio interference , Plaid , Guy Sigsworth , Mark Stent and Howie B .

The artwork of the single shows a recording from the music video as well as the official logo, which can also be seen in the video. The song was used as the opening track of Björk's 2002 scrapbook Greatest Hits , the songs of which were selected by fans through a poll in which the single was the second most popular after Hyperballad (1996).

reception

Both versions of All Is Full of Love were from the music critics praised. In a review for Homogenic , AllMusic's Heather Phares described the track as a "calming finale". Sal Cinquemani of Slant Magazine called it a "sublime rebirth" and Tiny Mix Tapes commented that "the album ends with the exquisite song on an optimistic note." David Browne from the US entertainment magazine Entertainment Weekly was less enthusiastic because he considered it "the weakest track" on the album. In a review for the DVD single, IGN's Alex Castle gave the music a score of 9 out of 10 because "it sounds fantastic" and the song is "pretty good". However, he admitted that he "probably wouldn't have been particularly impressed" had he not seen the music video. James Oldham of the NME described it as "a great, sultry, airy, pneumatic trip-soul ballad that blossoms gently into a magical garden of fluttering harps and trembling strings." He added that the track was "not just a soundtrack" for the video. AllMusic's Heather Phares gave the DVD single four out of five stars and considered it "a necessary addition to the collections of dedicated Bjork fans". Douglas Wolk of CMJ New Music Monthly also gave the single a positive review, praising its B-side and writing that "it was hardly the most distinctive piece at the time, but the melody turned out to be a kind of sleeper".

reviews

The Norwegian magazine Panorama listed the song at number four on their list of Singles of the Year . The US music magazine Blender put the track on two lists: "Extraordinary Tracks from the 500 CDs You Must Have" and "The 1001 Greatest Songs to Download Right Now," both released in 2003. The employees of Slant Magazine placed All Is Full of Love at number 59 on their list of the "100 Best Singles of the 1990s" on the grounds that:

“Though it has been as often-remixed as any other Björk single from the landmark Homogenic set, no version quite achieves the ethereal effect that the album mix of the song does. Coming off the tail-end of Pluto , a sonic threnody for a suicidal fan, Björk's open-source, beat-free echo chamber is both absolution and resurrection. "

“Although [the song] has been remixed more than any other Björk single from the groundbreaking Homogenic Set, no version quite achieves the ethereal effect that the song's album mix has. Björk's open, beat-free echo room that follows the end of Pluto , an acoustic threnos for a suicidal fan, is absolution and resurrection at the same time. "

The track was added to the “1001 Songs You Must Hear Before You Die: And 10,001 You Must Download” list by Quintessence Editions .

Music video

Conception

The music video for All Is Full of Love was created by British director Chris Cunningham . Björk was impressed with Cunningham's previous music videos for IDM musicians Autechre , Squarepusher and Aphex Twin, as well as with the clean lines, science fiction bias and contradicting imagery. Björk contacted and met the film director in his London office and brought along a Chinese Kama Sutra as a guide for the visual design. Cunningham had also linked the track to sex when he heard it, but had no idea how to make the video both erotic and broadcastable.

Björk said:

“I think the only thing I said was that I thought it was very white […] and I'm trying to describe some sort of a heaven. But I wanted also to have the other level there, there would be lust, it wouldn't be just clean. "

“I think the only thing I said was that I thought it was very white [...] and I'm trying to describe a kind of heaven. But I also wanted the other level there, there would be pleasure, it wasn't just clean. "

- Bjork

She also mentioned that the video should be "white" and "frozen", and then "it melts through love".

When Cunningham first heard the track, he associated the words "milk", "sex", "surgery" and "white china" and sketched the future music video around these terms. Cunningham added that it is like " Kamasutra meets industrial robotics " and that the images should be "sexually suggestive" because of their surreal nature. The original plan was for the robots to end up unfolding like a flower as they mate, as if an abstract life form was revealing itself from the two man-made shapes, but the team was unable to make that idea a reality.

The robots from the music video have creative forerunners in Japanese animes and comics. The 1995 anime cartoon Ghost in the Shell shows a humanoid robot arrangement in a milky white environment. The robots in manga from the 1990s and the anime Battle Angel Alita (1995) are quite similar in appearance, as are the exterminators from the manga series Blame! (1998).

Filming

The robots were designed by Cunningham and sculpted in original size from clay in two hours by concept artist Paul Catling - who also sculpted the face masks for the music video for Aphex Twins Windowlicker (1999). He also worked with Julian Caldow on the conception of the production design , which Chris Oddy then implemented and assembled. Those involved described the set as “elegant” and “white surroundings” with “Japanese flair”.

The video was shot at Bray Studios and Greenford Studios , England . Cunningham said that each shot in the clip is made up of four layers. He reportedly filmed the set first and then the motionless props for about 21 seconds. Then he removed the robot and replaced him with Björk, whose face was painted white and was wearing a blue suit . Using a mix of images from Björk's master shot and live feed, the production team tried to bring their face and robot body into line as much as possible. However, the director was dissatisfied with the outcome of the filming and instead relied on post-production .

Post production

The post production was implemented by the company Glasswork with the software programs Autodesk Softimage and Flame . Only Björk's eyes and mouth were used during the rest of the robot fully 3D animation ge renders was. Only two industrial robot arms were available for the shoot , while the third and fourth robot arms were computer-generated in post-production. Cunningham described the filming as an unsatisfactory experience:

“I always think that my strength is […] sculpting stuff up in [post-production] and then, a lot of the time things are pretty ramshackle while they're shot. And I think that with the video that was the most extreme example of that, I mean it really was a disaster […] In the Avid, looking at this stuff, it just looked awful and I actually had a panic attack when I went to the telecine to look at the rushes. I just thought 'this is a fucking disaster, […] so cheap and nasty'. At it was only when Glassworks started doing the computer graphics that […] I started to realize how the video was gonna be made completely with the computer graphic addition. "

“I always think my forte is shaping things in [post production] and then things are pretty poor for a long time while they're being shot. And I think by the video, which was the most extreme example of it, I mean that it really was a disaster. When we looked at the stuff in the Avid composer software , it just looked terrible, and I actually had a panic attack when I went into the film scanner to see the result. I just thought, 'This is a fucking disaster, so cheap and hideous.' It wasn't until Glassworks started doing the computer graphics that I realized how the video would be completed with the computer graphics. "

- Cunningham

Björk let Cunningham work on the video undisturbed and wanted to see the finished work first. She explained that "when you meet someone special like Chris, you just become humble". According to Cunningham, this made the job much easier. Cunningham's music video resulted in a combination of mechanical effects, industrial robots , 1970s-style cinematography and, for 1999, the most modern visual effects .

The color video was recorded with an aspect ratio of 16: 9. Due to the black and white setting and the strong contrasts, it appears almost monochrome , only the welding sparks are of significant chrominance . The video has a length of 4:10 min and is therefore significantly shorter than the album version of the song.

action

The video begins with a slow tracking shot through a dark environment, which is criss-crossed with bundles of cables and illuminated by a weak, pulsating light. The sequence has been described as "uterine, voyeuristic, as if the black box of technology was opening". The camera follows the cables into an ethereal, clinically white room in which a robot with Björk's facial features lies in a fetal position. As the room lights up, two ceiling-mounted multi-articulated arms begin assembling the robot's torso . The robot opens its eyes and begins to sing the song in sync with lips. Piston pumps that deliver white liquids, as well as drilling and penetration movements, illustrate a “clear” sexual subtext.

In the next shot, the robot stands upright and looks up to see another robot of the same construction, whereupon the machines stop assembly. He smiles and reaches out his hand to the sitting robot that is participating in the song. At the climax of the video, the robots kiss and hug passionately, while the manipulators penetrate their bodies in several places. The images of the kissing robots are interrupted by shots of white liquid pouring over robot parts and mechanical arms.

According to the Dutch V2 Lab for the Unstable Media, "as soon as the music dies away and the pulsating beat becomes more and more dominant, we are drawn back into the uterine dark room, which makes it clear to us that we have glimpsed an opaque kingdom."

review

The music video received very positive reviews from the critics. Music journalist Mark Pytlik wrote that the visuals "marked an undeniable creative climax for Björk's visual work, a perfect synthesis of form and content". IGN gave it a score of 9/10 and wrote that it was "absolutely beautiful to see" and "almost perfect". Craig Duff of the news magazine Time called it a milestone in computer animation and said that "no robot has yet expressed the sensuality that director Chris Cunningham conveys in the Björk bot in the video". MusicRadar considered the music video "one of the most visually impressive promos of Björk's career".

The English-language music magazine New Musical Express (NME) praised the clip as one of Björk's best works and particularly emphasized the wide-angle shot of the cyborgs kissing while the choir was playing. Called Slant Magazine's Eric Henderson "the perfect pre-millennium forerunner of today's gadget-enabled self-love culture," added, "When it was first published, I thought it was cool and emphasized the importance of self-love. Now I think it's a terrifying and sealed nightmare to find out that you're the only person who will ever love you. ”Scott Plagenhoef of the US website Pitchfork Media said that“ the strongest frames from every video of the 90s come from [the clip] ”and also called it“ strange and moving ”. Douglas Wolk of CMJ New Music Monthly called the video "great" and praised it for "highlighting the beauty of the song."

Awards

The music video won several prizes and awards. It won the jury award at the multinational "ArtFutura Festival 1999", "Best Video of the Year 2000" at the Fantasporto Film Festival in Porto , "Best Video of the Year 2000" at the "Australian Effects and Animation Festival" and "Best Art Direction in a Video" and "Best Special Effects in a Video" at the "Music Week Awards". Other awards given at festivals are second place in the “Prix PIXEL-INA Best Script” category at the 2000 Imagina , and the music video award at the “London Effects and Animation Festival”. At the “ D&AD Awards 2000”, the video won prizes in the four categories “Video Director”, “Cinematography”, “Animation” and “Special Effects”. In addition, Cunningham received the MVPA Awards for Best Director by an Artist in a Music Video.

Björk received two awards at the MTV Video Music Awards 2000 in the categories " Breakthrough Video " and "Best Special Effects in a Video". The music video also received at the "International Monitor Awards 2000" for "Best Special Effects" in a music video and "Best 3D Animation Music Video". The visual in particular won various nominations: "Best Video" at the Ericcson Muzik Awards 1999 , Best Short Form Music Video at the Grammy Awards 2000 , and "Best Alternative Video", "Best Cinematography" and "Best Editing" in a video at the " Music Week Awards 2000 ".

Media reception

Robot replicas at the Bjork retrospective at the Museum of Modern Art (MoMA), New York City.

Chris Cunningham served as a model for a literary figure in the novel Pattern Recognition (German Book Title: Pattern Recognition ) by science fiction author William Gibson in 2003: bringing a fictional music video director, the "robot girls in his video," produced a clip which is described as follows: “No sci-fi kitsch for Damien. Dreamlike things in the twilight, her small breasts shimmer, white plastic sheen faints like old marble, ”as an allusion to All Is Full of Love .

In 2004, clear similarities were found between the design of the robots in the music video and those in the film I, Robot , prompting fans to raise allegations of plagiarism . Neither Cunningham nor the executive film studio 20th Century Fox publicly commented on these allegations.

According to Tymon Smith of the South African daily newspaper The Times , the US film Chappie (2015) also ends “with a plagiarism” of the music video . In the science fiction film Ex Machina (2015), the robot Ava also has the cutout style of a human face on a thin mechanical body. The music video was also an inspiration for the title sequence of the TV series Westworld (2016). Justin Timberlake's music video for the single Filthy from the album Man of the Woods (2018) revolves around a similarly humanoid robot on a keynote from Apple . The Chemical Brothers' music video for Free Yourself (2018) also combines cutouts of human faces with robotic bodies.

Concerts

Björk performed at Radio City Music Hall on the Vespertine World Tour in 2001.

In July 1997 Björk played All Is Full of Love live for the first time in the Old Truman Building , along with the entire album for a press conference and presentation concert by Homogenic , an old beer factory in London. She wore a pink dress by British fashion designer Hussein Chalayan , which she later wore in the video for Bachelorette (1997) and on photo shoots. The song was part of the set list for her Homogenic tour, which Björk played with Mark Bell and the Icelandic string octet from late 1997 to early 1999 . All Is Full of Love was also performed during the 2001 Vespertine World Tour with Matmos and Zeena Parkins, an Inuit choir and an orchestra.

During the tour Björk preferred to appear in concert and opera houses in order to “have the best possible acoustics” and to avoid the “terrible acoustics” of stadiums and rock stalls. Alongside Frosti and Pagan Poetry, the track was the most performed on the tour. Björk's concert at the Royal Opera House in London on December 16, 2001, which included a performance of the song, was broadcast on BBC Four and released on DVD in 2002 as "Live at Royal Opera House".

A live version of the song can also be found on the 2003 DVD tour documentation Minuscule . A live version of the song was released on the live album Vespertine Live , which is included in the box set Live Box (2003).

Björk headlined the Coachella Valley Music and Arts Festival on April 27, 2002 in Indio and opened her performance with All Is Full of Love in a white dress by Comme des Garçons . This performance was included in the video documentation Coachella 2006 . The song was also part of the setlist of the Greatest Hits Tour (2003), again with the Icelandic string octet and the experimental band Matmos and the American harpist Zeena Parkins from the Vespertine World Tour . It was one of the most played songs on the tour. Björk's performance of the song in New York during the tour was included in the 2005 documentary Screaming Masterpiece . All Is Full of Love was also performed during the Volta Tour (2007-2008), a tour she took with Mark Bell, Jónas Sen, Damian Taylor, Chris Corsano and a ten-piece female brass band .

Several of the concerts have been at music festivals including Coachella , Glastonbury and Rock en Seine . A live version of the song during the tour was included in the box set Voltaïc (2009), in particular the CD "Songs from the Volta Tour Performed Live at the Olympic Studios". The track was also performed a few times during Björk's biophilia tour (2011-2013). The song was only played once on the 2015 Vulnicura tour.

Soundtracks

All Is Full of Love was used for the French feature film Who Loves Me Takes the Train ( 1998 ) directed by Patrice Chéreau . All Is Full of Love was used in the 1999 mystery thriller Stigmata , directed by Rupert Wainwright . It was subsequently included in the official soundtrack Stigmata: Music From The MGM Motion Picture Soundtrack . The mix of radio interference is part of the soundtrack of the feature film Memento (2000) by director Christopher Nolan .

Cover versions

2001 coverte the American indie rock band The Microphones the song and added it to their studio album Blood added. All Is Full of Love was also covered by the American indie rock band Death Cab for Cutie and released on February 18, 2002 on their EP The Stability . The US Vitamin String Quartet , an area known for a series of tributes to popular music acts String Quartet , coverte the track as part of their 2005 album Violently: The String Quartet Tribute To Bjork .

The song was also sampled in 2008 by Estonian singer Kerli in the song Love Is Dead from her album of the same name. The Catalan musician Pau Vallvé released a guitar version on his 2010 album that same year. Welsh band Man Without Country covered the song as Puppets on their 2012 debut album Foe . Lebanese singer Yasmine Hamdan sang the song for Bristol in 2015 featuring Martin Rahin . The Canadian singer Jaidene Veda released a serenade with strings on her album Heart of Gold in 2017 in collaboration with John Brews . The German rapper and music producer Moses Pelham interpreted "one of his favorite songs" with electronically distorted singing for the television program Sing mein Song - The Christmas Concert (Season 4), which the television station VOX broadcast on November 28, 2017.

Contributors

The credits are based on the liner notes of Homogenic and the single release.

literature

Web links

Individual evidence

  1. ↑ Björk . In: moma.org . March 8 - June 7, 2015.
  2. ↑ a b c d e f g h i j k GH&FT special: All Is Full Of Love . bjork.com. Archived from the original on August 21, 2006. Retrieved November 25, 2014.
  3. ^ J. David Moore: Notation . In: Musicnotes.com .
  4. ↑ a b Eric Henderson: The 100 Best Singles of the 1990s. 59. Björk, “All Is Full of Love”. In: Slant Magazine. January 10, 2011, accessed on January 22, 2019 (American English): “Building quietly from a warm hexadecimal hum that's the diametric opposite of sensory deprivation, the song accrues momentum as Björk simultaneously frees herself from the burden of expectation until cascades of shimmering , opal-hued harpsichord notes emerge from a curtain of glimmering white noise. "
  5. ↑ a b c d Pytlik: Björk: Wow and Flutter . ECW Press. 2003. ISBN 1-55022-556-1 . Page 170. (English)
  6. ↑ Joke Brouwer: Feelings are Always Local . V2 Publishing, 2004, ISBN 978-90-5662-423-1 , pp. 180-183 (English, google.com ).
  7. ↑ a b Duff Craig: The 30 All-TIME Best Music Videos. Björk, 'All Is Full of Love' (1999). In: Time . November 26, 2011. Retrieved January 13, 2019 (American English).
  8. ^ A b Sheila Whiteley: Too Much Too Young: Popular Music Age and Gender . Routledge , 2005, ISBN 978-0-415-31029-1 , pp. 108 (English, google.com ): “After the frenetic and exhausting rhythms that characterize Björk's personal sense of rebirth ('a little tired, but brand new'), she re-finds her 'little girl' voice. Against a background of shimmering strings there is a sense of fragile reawakening 'you'll be given love'. Harps, strings and a gradually warming texture support the feeling of being in tune with oneself. "
  9. ↑ a b Joe Tangari: Death Cab for Cutie: The Stability EP. In: Pitchfork Media . February 27, 2002, accessed January 13, 2019 (American English).
  10. ^ David M. Pecoraro: Top 100 Albums of the 1990s. In: Pitchfork Media . November 17, 2003; Retrieved January 14, 2019 (American English).
  11. ↑ Brendan Schroer: Review: Björk - Homogenic. In: Sputnikmusic. January 5, 2014, accessed January 13, 2019 .
  12. ^ A b Sal Cinquemani: Björk: Homogenic. In: Slant Magazine. May 6, 2007, accessed January 13, 2019 .
  13. ^ A b David Browne: Bjork: Homogenic. In: Entertainment Weekly . September 26, 1997, accessed August 17, 2014 .
  14. ↑ James Hunter: Björk: Homogenic (Elektra) . In: Spin . No. 10 , 1997, ISSN  0886-3032 , p. 135 (American English, google.com ): “Björk dips a toe into the warm lake of tradition, but she always proceeds according to her own notions of disjoind space and passion. […] All is Full , whose rockish minor-key verses traipse off into Björk gospel, are Homogenic ’s new / old masterpiece. "
  15. ↑ a b c Alex Castle: Bjork - All is Full of Love. In: IGN Entertainment . January 28, 2000, accessed on January 25, 2019 (American English): “The song itself is pretty good, a lushly produced midtempo number that Bjork can really goes to town on. Had I not first heard the song while watching the video, I would probably not have been particularly impressed, but the two work together very well. [...] The thing sounds fantastic. "
  16. ↑ a b c James Oldham: Bjork: All is full of love. In: New Musical Express (NME). September 12, 2005. Retrieved January 13, 2019 (UK English).
  17. ↑ : radio disturbance remix Björk . bjork.com. August 24, 1998. Archived from the original on April 28, 2001. Retrieved January 29, 2015.
  18. ↑ a b c d e f The Grapewire of 1999. In: bjork.com. 1999, archived from the original on August 19, 2000 ; accessed on February 12, 2019 (English): "Björk will release All is Full of Love as a single in the next few months. A definite release date has not been set, but a new video to the song will be shot in 10 ten days time in London. "
  19. ^ Keir Langley: Hunter - Björk. In: AllMusic . February 23, 1999, accessed January 19, 2019 .
  20. ↑ a b c Lance Bangs: Making of All is Full of Love: Björk & Chris Cunningham. (Video; 7:14 min) In: B-Roll by Mirrorball / Blackwatch. January 1, 2008, accessed February 16, 2011 .
  21. ↑ About Us . One Little Indian. December 2013. Retrieved January 29, 2015.
  22. ↑ Business End. In: Sound on Sound. May 2004. Retrieved on January 24, 2019 (British English): "More recently he has produced Both the first DVD single (Bjork's 'All Is Full of Love') and the first commercial DVD-Audio disc (Holst's The Planets)."
  23. ↑ a b All Is Full of Love releases ( en ) 77ísland. Official Björk discography. Retrieved January 29, 2015.
  24. ^ Homogenic - Björk: Awards . Allmusic . Retrieved February 12, 2019.
  25. ↑ Heather Phares: All Is Full of Love - Björk. In: AllMusic . 1999, accessed January 19, 2019 .
  26. ^ A b Douglas Wolk: Singles . In: CMJ New Music Monthly . No. 01 , 2000, ISSN  1074-6978 , p. 62 (American English, google.com ).
  27. ^ A b All Is Full of Love . Acclaimed Music. Retrieved January 29, 2015.
  28. ↑ Robert Dimery, Tony Visconti: 1001 Songs You Must Hear Before You Die: And 10,001 You Must Download . Universe Books, 2010, ISBN 978-0-7893-2089-6 , pp. 960 .
  29. ↑ a b Pytlik. 2003. page 140.
  30. ↑ a b c d e f g h i Björk… All is Full of Love . Director-File.com. Archived from the original on May 26, 2005. Retrieved November 26, 2014.
  31. ↑ Tsutomu Nihei : BLAME! Cross Cult , 2019, ISBN 978-3-95981-445-4 , pp.  400 .
  32. ^ Benjamin Frisch: All Is Full of Björk Bots. In: Slate . 23 January 2018, accessed 16 January 2019 (UK English).
  33. ↑ a b All is Full of Love. In: V2 Lab for the Unstable Media. 2004, accessed on January 19, 2019 (English): "The opening sequence takes the spectator through a dark uterine environment wrought with cables and faintly pulsating with light. The whole experience feels womb-like, voyeuristic, as if the black box of technology is about to open up. "
  34. ↑ Erin Brannigan: Dancefilm: Choreography and the Moving Image . Oxford University Press , 2011, ISBN 978-0-19-536724-9 , pp. 60 (English, google.com ).
  35. ↑ EXPOSURE: All Is Full of Love. In: SciFi.com . March 1, 2000, archived from the original on June 21, 2006 ; Retrieved on February 5, 2019 (American English): “The video is an elegant, moving description of two Björk robots enraptured. As they are pieced and wired into existence, they sing to each other and fall in love. The video reaches its harmonious climax as the robots join in embrace, still being detailed by the robotic machines beside them. "
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