Heiðrik Sings the Björk Song Book by Heiðrik | Album Review
Faroese artist gives Björk a soft jazz finish on this cover project.
After exploring a little of Iceland’s music scene since returning from my trip there earlier in July, I wanted to explore some of the other Nordic country’s offerings. One country that stuck out in my mind was the Faroe Islands. Having researched the small island nation (which lies between Iceland and Norway), I was curious about some of the music coming from there. A quick Google search and singer-songwriter Heiðrik á Heygum struck my interest. The title of his third album, Heiðrik Sings the Björk Song Book, immediately caught my interest. As quite the fan of Björk’s music, I wanted to see how a fellow Nordic singer would interpret her often experimental and unique work. In a quote from Heiðrik’s label TUTL, he discusses how he was inspired to bring out the underlying jazz structure in Björk’s work:
“For many years I’ve dreamt of interpreting songs from Björk’s catalog because as a jazz singer, I have noticed jazz inspiration in her melodies and song structure from a young age. I saw potential in interpreting her alternative universe to jazz and digging into the heart of those melodies. I have one of the best jazz musicians alongside me to interpret these songs and together, we have made arrangements I’m very proud of.”
He chose rather interesting tracks from Björk’s debut through her 2007 album Volta giving each gentle sweep of organic instrumentation while providing an LGBTQ+ spin on some of these pieces.
We open the record with a decidedly warm and slightly beachy take on “Oceania.” It’s interesting to see the original all-vocally structured and aquatic-sounding track transition to this place between land and sea. Heiðrik’s voice has a gentle quality that pairs nicely with the soft jazz presentation of this Medulla track. I really like how this dressing completely changes the landscape of the piece.
“Cocoon” keeps the original delicate nature that gave Björk’s version its intimacy. With the microtones switched out for the gentle pluck of acoustic guitar brings forth a different form of sensuality. Heiðrik’s vocal keeps the near-whispered higher octave that teases you under the erotic tone of the song. He makes only subtle changes to the lyrics which gives a male/male spin to the post-coitus imagery of the original.
“Immature” takes on a lounge quality under the deep blues of the rising upright bass melody and trickling piano melody. Heiðrik really captures some of the more jazz-oriented elements of Björk’s original delivery. Her freeform singing in the piece hints back to some of her earlier jazz experimentation at the turn of the 1990s. The warmth of Heiðrik’s voice gives a velvet quality to the song. I recommend listening to this song with a good cocktail on a moody afternoon.
We keep the hypnotic beauty of “Come to Me”. The song seems to float through the sparse piano treatment. Heiðrik’s heavy vibrato brings to mind the textures of Anohni’s voice. Because of the texture of his voice, the song takes on a fragility. Instead of the hypnotic caress that the trip-hop-infused original gives off, this has a much more tender sense of care to it. It feels more like being held than being entranced. I like how the guitar captures some of the Eastern influences that Björk’s debut flirted with throughout the project. This is one of the most luscious covers on the album.
“One Day” completely changes the structure of the original track. We trade out the electronic/trip-hop sound for a more Bossa nova-inspired interpretation. The creamy saxophones and soft guitar are heavenly against the soft airy delivery provided by Heiðrik. I think this sonic landscape really brings out the underlying encouragement that Björk’s words pour forth. I really like how this song has been completely transformed.
I think I am more partial to the original version of “Venus as a Boy”. While I do like the overall soft jazz treatment that Heiðrik gives this ode to male sensuality, nothing quite compares to Björk’s menagerie of eclectic sounds. I do think he gives the song the proper sense of admiration that brings out the overall amorous vibe. I just think it feels a little flat compared to some of the other songs on this album.
I was intrigued to see the originally chaotic acid-jazz “I Miss You” on the list of songs covered in this project. I think that song could use some livening up from some of the salsa-inspired sounds of the Post track. I feel that we lose some of the character that we once had under this softer treatment. Heiðrik’s voice is definitely the best part of this song. It’s the only sense of energy that the song keeps. This is probably the flattest jazz interpretation for me off of this project.
“All Neon Like” takes on a much more intimate quality by Heiðrik’s interpretation. The neon threads of the original leave us for the singular dull glow of his voice. The delay in his vocal cuts through the darkness like a beacon of hope. Because of this very personal feeling, it really brings out the central theme of solicitude. The duality of the soft guitar and Heiðrik’s voice makes for this magic on this cover.
One of the most interesting choices on this project is the Post-era b-side “My Spine.” The original clanking metallic sounds used in Björk’s version have been traded out for a much more jaunty mix of upright bass, trumpets, and cheers. This keeps the joyous nature of the song completely intact while bringing something completely different to the table. I wish that “I Miss You” had the energy that this song emanates. It really showcases that electric buzz you get when that spark ignites between two lovers.
The final track on the album is a much gentler take on Volta’s “Wanderlust.” Heiðrik gives the song an extremely haunting quality through his backing cries and cool tones brought in by the piano and guitar. I was never taken by the original version of this piece but under the jazz interpretation brought by Heiðrik, I find myself captivated. It takes on an almost Bond theme sound that really brings a whole new life to the song. This is probably my favorite take on Björk’s work on the entire album.
I have to say Heiðrik did an excellent job dressing down Björk’s work in this jazz environment. His voice sounds so rich and smooth which only adds to the experience. He clearly has a reverence for her music. Nothing feels forced. Each song keeps her original energy while bringing out a different quality to each piece. I do think “I Miss You” suffers the most from this interpretation. While it keeps the original longing, it loses the original’s wild imagination. I also think “Venus as a Boy” feels a little flat without the warmth of its strings. That said, I did thoroughly enjoy this album. I wish it had a physical release. I am very interested in listening to the back catalog of Heiðrik’s own work (which can be found on all streaming services). If you like jazz music and are a fan of Björk’s music, I highly recommend giving this album a listen. My overall thoughts on Heiðrik Sings the Björk Song Book:
Loved it: “Oceania”, “Cocoon”, “Immature”, “Come to Me”, “One Day”, “All Neon Like”, “My Spine” & “Wanderlust”
Liked it: “Venus as a Boy”
Disliked it: “I Miss You”
My overall rating: 8.5 out of 10.
