Icelandic artist Björk (“Utopia”) released “Atopos” on Sept. 6 as the lead single of her upcoming tenth studio album, “Fossora.” The track is a collaboration with Kasimyn, one half of Indonesian electronic duo Gabber Modus Operandi (“PUXXXIMAXXX”). 

The title “Atopos” is a Greek word meaning “strange” or “out of place.” Björk’s neverending exploration of experimental music makes this title a bit on-the-nose, but nevertheless her latest single ushers in a new sound. Laden with heavy, distorted drums that feel as if Björk herself is kicking your eardrum, “Atopos” takes up the sound of gabber. Gabber is a subgenre of hardcore techno originating in the  Netherlands in the ‘90s, and is a hard turn from the folktronica production from Arca (“kiCK iiiii”) off “Utopia” from 2017.

Except Björk takes the gabber sound even further with, get this, a bass clarinet sextet. The merge of electronic and orchestral sounds is not new to her discography, for example 1997’s “Homogenic,” but in her sudden return to music, the odd combination of sounds is still jarring.

The music video adds to the weirdness. In her signature style of esoteric wardrobes that look like Willy Wonka had a yard sale, Björk dances like the Scarecrow from the “Wizard of Oz” in the midst of what Pitchfork calls a “mushroom rave.” Rejects from the new “Avatar” movie that nobody will see play the clarinets while a DJ booth is manned by a leprechaun wearing those big hats Russians wear in cartoons. It is official: Björk is back, and she is weirder than ever before.

The lyrics tell a scathing story of Björk criticizing a partner’s selfishness. “Are these not just excuses to not connect?” she cries. She pleads with this lover to help preserve their love: “If we don’t grow outwards towards love/We’ll implode inwards towards destruction.” Her words are somewhat poetic but also theoretical. This is possible due to what Björk says is an inspiration to the song and title, Roland Barthes’ book “A Lover’s Discourse.” Barthes coins “atopy” as the indescribable feelings communicated between lovers. Björk struggles to maintain an atopy with this lyrical lover, and ironically she expresses this frustration with her trademark weirdness. “Atopos” is truly atopic. 

Given the environmental imagery of the “Fossora” era, like the mushroom rave, otherworldly plants and faerie attire, the scornful attack of Björk’s demanding vocals could very well be directed toward news headlines, like the war in Ukraine, COVID-19 politics and the ticking time bomb of climate change, to name a few. This song could easily soundtrack Mother Nature estranging herself from humanity, and who better to cast in the role of Mother Nature than Björk herself. After all, she is already dressed for the part.

The last minute of the song is arguably the most exciting section, bringing contempt and music together into a sonic implosion. As Björk laments the stubbornness of her lover, the kicks on the track get more and more intense. Her vocals leave us stranded with a reminder that “hope is a muscle,” whatever that means. The clarinets remain like a cheering audience in a Roman colloseum. Now, it feels like the song has not only kicked your brains out but is stomping on the listener’s lifeless corpse. If you enjoy your music being blasted up to 11 into your tinnitus-inducing headphones, this is surely the song for you.

“Atopos” is proof that the queen of art pop will reign forever. “Fossora” is scheduled to be released on Sept. 30 by One Little Independent Records.

Image from björk via YouTube