All Is Full of Love

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"All Is Full of Love"
Two white cyborgs are kissing while they are hugging.
UK CD1 and maxi-single CD cover
Single by Björk
from the album Homogenic
Released24 May 1999 (1999-05-24)
StudioEl Cortijo (Málaga)
Genre
Length
  • 4:32 (album version)
  • 4:50 (video version)
  • 4:10 (video edit)
Label
Songwriter(s)Björk
Producer(s)
  • Howie B (album version)
  • Björk (video version)
Björk singles chronology
"Alarm Call"
(1998) 		"All Is Full of Love"
(1999) 		"Hidden Place"
(2001)
Music video
"All Is Full of Love" on
YouTube

"All Is Full of Love" is a song by Icelandic musician Björk from her third studio album, Homogenic (1997). The lyrics were inspired by love in spring and Ragnarök of Norse mythology. Björk's original version is a trip hop ballad with soul influences, harp, strings, and electronic beats; the version on Homogenic is a minimalist ambient remix by Howie B, emphasising Björk's vocals. A remix by the German IDM duo Funkstörung was released as a single in 1998.

In 1999, "All Is Full of Love" was released as a single with a music video directed by

dance hit in the United States. The original version of "All Is Full of Love" is the opening track on Greatest Hits
(2002), whose tracks were voted for by fans. It has been covered by various artists.

Background and composition

Album version
The album version "[builds] quietly from a warm hexadecimal hum" and "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".[1]
Video version
The same fragment, but of the video track version. It features an "austere trip hop production"[2] and richer instrumentation, differing from the ambience of Howie B's version.
Problems playing these files? See media help.

"All Is Full of Love", the closing track of Homogenic, was the album's last song to be written and recorded. Produced by Björk, the original version of the song was replaced "at the last minute" with a remixed version by Howie B.[3] It was inspired by the spring while producing the album in Málaga, Spain. After living in the mountains among other people for six months, Björk felt lonely, but a morning walk in April inspired her to write the track. She had a rough winter and then she realised it was spring after she could hear the birds singing. She wrote and recorded the song in half a day.[4]

In keeping with Homogenic's theme as a tribute to Björk's native Iceland, the track was inspired by

Icelandic mythology, such as the Ragnarök.[4] The previous track, "Pluto", stands for death and destruction, whereas "All Is Full of Love" stands for a new beginning.[4] Björk also called it a song about "believing in love" and expressed that "love isn't just about two persons. It's everywhere around you. Even if you're not getting love from Person A, it doesn't mean there's not love there."[3] However, she also described it as "taking the piss", considering it the most "sugary song" ever.[3] As the song opposes the rest of Homogenic's "macho" aesthetic, Björk has said it could have been included on Vespertine.[4]

The lyrics begin with a promise of protection and caretaking: "You'll be given love / You'll be taken care of / You'll have to trust it".[5][6] The song moves towards a more reproachful tone as Björk sings, "You just ain't receiving / Your phone is off the hook / Your doors are shut",[5] tempered by the recognition that you have to "twist your head around you" because "love is all around you".[7] This is musically effected by Björk's vocals as she sings the lyric "All is full of love" in counterpoint with herself.[7]

The album version of the track does not have drum accompaniment.[8] It does not have Homogenic's characteristic electronic beats,[9] focusing instead on "[creating] an intimacy between the growing dynamics of the instrumentation and Bjork's impressive vocal abilities."[10] It uses a long reverb, which results in a wash of sound that suggests a very large space suggestive of the "heavenly" environment Björk envisaged for the track.[11] According to Sal Cinquemani of Slant Magazine, the song has a soft pulse with intervals that build up to an electronic orchestration of industrial beats.[12] David Browne of Entertainment Weekly called it a "moony lullaby" and compared it to the music of Enya.[13] In his review for Spin, James Hunter wrote that the track is one of the times Björk "dips her toe into the warm lake of tradition" and noted its "rockish minor-key verses traipse off into her gospel."[14]

The video version of the song is a

midtempo[15] trip hop ballad with soul influences.[16] In opposition to the sonically minimalist mix included on the album, this version has been described as "lushly produced"[15] and includes "fluttering" harps and "shivering" strings.[16] Reportedly the best known and the preferred version by Björk's fans and herself, it is further known under the names of "Mark Stent Mix" and "Video Mix".[3]

Release

In August 1998, a

B-side for "Hunter" (1998),[19] and another remix of the song had been released as a B-side of "Jóga" in 1998.[20] In January 1999, it was announced that the track would be released later that year as a single and that its music video would be shot soon.[18] It was atypical to release a single for promoting an album released two years before, but Björk purposely decided to do this so that the music video was more of a short film than a marketing move.[21] The original release date for the single was 2 May 1999, but was later extended out two weeks to 17 May. To coincide with this announcement, Funkstörung's remix was made available again and an official logo for the release was unveiled.[18]

The music video was released that April, although the premiere of the single was pushed back to 7 June 1999.

Mark Stent and Howie B.[25] The single's artwork consists of shots from the music video and features the official logo, which can be seen in the video as well. The song was also included as the opening track of Björk's 2002 compilation album Greatest Hits, whose songs were selected by fans through a survey, in which the single was the second most voted song, coming after "Hyperballad" (1996).[26]

Critical reception

Both versions of "All Is Full of Love" received acclaim from music critics. In a review for Homogenic, Phares from AllMusic described the track as a "reassuring finale".[27] Sal Cinquemani of Slant Magazine called it a "sublime rebirth",[12] and Tiny Mix Tapes commented that "the album ends on an optimistic note" with the "exquisite" song.[28] In a retrospective review, Music Tech described the song as "hauntingly-beautiful."[29] Entertainment Weekly's David Browne was less enthusiastic, considering it "the weakest track" of the album.[13]

In a review for the

CMJ New Music Monthly also gave the single a positive review, commending its B-sides and writing it "was hardly the most striking piece at the time—but the tune turns out to have been something of a sleeper."[31]

Recognition

Blender included the track on two lists: "Standout Tracks from the 500 CDs You Must Own"[citation needed] and "The 1001 Greatest Songs to Download Right Now!",[32] both published in 2003. The staff members of Slant Magazine placed "All Is Full of Love" at number 59 on their list of "The 100 Best Singles of the 1990s", writing: "Though it has been as oft-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".[1] The track was also included on Quintessence Editions' "1001 Songs You Must Hear Before You Die: And 10,001 You Must Download".[33]

Music video

Background and development

The music video for "All Is Full of Love" was directed by Chris Cunningham. Björk was impressed by Cunningham's original music videos for IDM musicians Autechre, Squarepusher, and Aphex Twin, and by his clear lines, science fiction inclinations, and discordant imagery.[34] This resulted in Björk contacting him to meet at his London office; she brought a Chinese Kama Sutra as a guide to what she wanted.[4] Cunningham had also associated the track with sex upon hearing it, but could not figure out how to make the video explicit yet broadcastable.[4] 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." She complemented saying she mentioned that the video should be "white" and "frozen", and then it "melts because of love" and "making love".[21]

A drawing of a cyborg smiling and of two robots kissing
Concept art by Chris Cunningham. Initially, the two protagonist robots would unfold like a flower as they mated, but the team could not manage to materialise this thought.

When Cunningham first heard the track, he wrote down the words "milk", "sexual", "surgery", and "white porcelain"; they outline what would become the music video. Concerning this, Cunningham added that it was like Kama Sutra meeting industrial robotics and that because of the surreal nature of the images, they could be "sexually suggestive" as they liked.[35] Initially, it was planned that during the visual's ending, the robots would unfold like a flower as they mated, revealing an abstract life form made from the two artificial forms.[35] However, the team could not manage to materialise this thought.[4]

The robots were designed by Cunningham and were built in full-size by Paul Catling—who had also sculpted the masks for Aphex Twin's "

set design, which was created by Chris Oddy.[4] The treatment described the set as an "elegant" and "white environment" with "a Japanese feel to it".[4] However, the music video's director was dissatisfied with the result and relied heavily on post-production. On the shoot there were two main robot arms, but during its post production, a third and fourth robot arm were created in computer-generated imagery.[4]

The video was shot at

Bray Studios and Greenford Studios, and post-production was handled by Glassworks[36] using the software programs Softimage and Flame. Cunningham said that every shot in the clip had four layers. He reportedly first shot the set and the props doing nothing for about 21 seconds, and then removed the robot and replaced it with Björk, who had her face painted white and wore a blue suit. Using a mix of the master shot and a live feed of Björk in frame, the production team tried to match up her face and the robot body as much as possible.[35] Only Björk's eyes and mouth were used, with the rest of the robot representing 3D animation traced from her real head.[4]
Cunningham has described the filming process as an unpleasant 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 realise how the video was gonna be made completely with the computer graphic addition.[21]

Björk left Cunningham alone to work for the video, refusing to see the product until it was finished, explaining that "when you come across someone as special as Chris you just go humble", which Cunningham said made the work much easier.[35]

Synopsis

A screenshot from the music video
In the music video's climax, the two robots passionately kiss, contrasting with the ethereal sterility of the room and the rendered movements of the machines.[37]

The video begins with a journey through a dark environment wrought with cables and a faint pulsating light. The sequence has been described as "womb-like, voyeuristic, as if the black box of technology is about to open up".[38] The camera follows these cables to an ethereal, white room where a robot with Björk's features lies in a fetal position. As the room becomes illuminated by fluorescent lights flickering on, two mechanical arms begin to assemble the robot, which opens its eyes and begins to sing the song. Pistons pumping white fluids, as well as drilling and penetrative motions are seen, featuring a "clear" sexual subtext.[39]

Now sitting upright, the robot looks up to see another robotic Björk as the machines stop the assembly. It smiles and extends its hand to the sitting robot, joining in the song. In the climax of the video,[37] the robots passionately kiss and embrace while the machines assemble their backs and light comes and goes. The images of the kissing robots are interposed with shots of white fluid washing over robotic parts and the mechanical arms assembling them. According to the Institute for the Unstable Media, "as the music fades and the pulsating beat becomes more dominant, we are once again drawn in the womb-like dark space, making it clear to us that we sampled a glimpse of a black-boxed kingdom".[38]

Reception

The music video was greeted with widespread critical acclaim.

CMJ New Music Monthly's Douglas Wolk called the video "magnificent" and praised it for "[bringing] out the beauty of the song".[31]

Recognition and legacy

MoMA
, New York City.

The music video has won various awards and accolades. It won the Jury Prize at

D&AD Awards, the video was awarded prizes in Video Direction, Cinematography, Animation, and Special Effects.[47] Furthermore, at the MVPA Awards, Cunningham received the award for Best Direction of a Female Artist in a Music Video.[48] Björk won two awards at the MTV Video Music Awards in 2000: Breakthrough Video and Best Special Effects in a Video.[49] The music video also received the Best Special Effects in a Music Video and Best 3D Animation Music Video during the 2000 International Monitor Awards.[35] Particularly, the visual won various nominations: Best Video at the 1999 Ericcson Muzik Awards,[35] Best Short Form Music Video at the 42nd Annual Grammy Awards,[50] and Best Alternative Video, Best Cinematography, and Best Editing in a Video at the 2000 Music Week Awards.[35]

In 2008,

art exhibitions and museums, including DEAF04 Exhibition in the V2 Institute for the Unstable Media in Rotterdam,[38] Chris Cunningham in MoMA PS1 in New York City,[52] the 49th Venice Biennale,[53] While Interwoven Echoes Drip into a Hybrid Body – an Exhibition about Sound, Performance and Sculpture in the Migros Museum für Gegenwartskunst in Zürich,[54] and This Is Not a Love Song in La Virreina Centre de la Imatge in Barcelona.[55] The music video was also on permanent exhibition at the Museum of Modern Art in New York City.[56]

Chris Cunningham served as a model for a character in the novel

The Times, 2015 American film Chappie "ends with a rip off" of the music video.[60] It also was an inspiration for the opening title sequence of the television series Westworld.[61][62]

Live performances

Björk performing at Radio City Music Hall during her Vespertine world tour in 2001

Björk first performed "All Is Full of Love" live in July 1997, playing the whole album for a press conference and presentation concert concerning Homogenic at the

Minuscule of 2003.[68] A Vespertine tour live version of the song was released through Vespertine Live, a live album of the tour included in the box set Live Box (2003).[69]

The

Coachella, Glastonbury, and Rock en Seine, among others. A live performance of the track during the tour was included in the box set Voltaïc (2009), specifically the CD Songs from the Volta Tour Performed Live at the Olympic Studios.[78] The track was also performed a few times during Björk's Biophilia tour (2011–13).[79] The song was performed only once on the 2015 Vulnicura tour.[80]

Cover versions

In 2001, American indie rock band the Microphones covered "All Is Full of Love" for their 2001 studio album, Blood.[81] It was also covered by Death Cab for Cutie and was released on their 2002 The Stability EP.[8] The Vitamin String Quartet, a musical group known for its tributes to popular music acts, covered the track as part of their 2005 tribute to Björk Violently: The String Quartet Tribute To Bjork.[82] In 2022, Rosie Thomas covered "All Is Full of Love" with guest vocalists including Sufjan Stevens and the Shins.[83]

Track listings

1998

  1. Björk mit Funkstörung – "All Is Full of Love (In Love With Funkstörung Mix)" – 5:29
  2. Funkstörung – "This Shit" – 5:01
  3. Björk mit Funkstörung – "All Is Full of Love (Secondotted by Funkstörung)" – 4:37
The 12-inch vinyl version of the single only featured the first two tracks.[85] The "Secondotted by Funkstörung" mix was included on the 1999 single as the "Funkstörung Exclusive Mix".[86]

1999

Credits and personnel

Credits adapted from the liner notes of Homogenic and the single's physical release.[94][95]

Charts

Weekly chart performance for "All Is Full of Love"
Chart (1999) Peak
position
European Hot 100 Singles (Music & Media)[96] 89
Scotland (OCC)[97] 36
UK Singles (OCC)[98]
 24
UK Indie (OCC)[99] 3
US
Dance/Electronic Singles Sales (Billboard)[100]
 8

Release history

Release dates and formats for "All Is Full of Love"
Region Date Format(s) Label(s) Ref.
United Kingdom 24 May 1999 Dance radio One Little Indian
[101]
France 31 May 1999
DVD
[102]
United Kingdom 7 June 1999
One Little Indian
[103]
5 July 1999 Box set
[104]
United States 12 October 1999
Elektra
[105][106]

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Bibliography

External links
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