Music Review: Bjork
Shortly before the release of Björk's seventh album, she announced, "Instruments are so over." Coming from a musician, this seems like an absurd statement. Then again, it is Björk. Known for being eccentric (remember that Swan outfit complete with an egg for a purse?), Björk has constantly pushed the boundaries of her music. On Medulla, she has called on the help of the London Choir, the Icelandic Choir, Inuit singers, and beat-boxers such as Rahzel (from The Roots) and Dokaka from Japan. Björk uses this diverse lineup to create an almost entirely a cappella album that even the Whiffenpoofs would envy.
Medulla starts off with "Pleasure is All Mine." In many ways, this piece introduces the concept of the album, opening with sparse vocals that slowly layer and build. "Where is the Line?" is the song that most uniquely couples the hip-hop beat-box with a chanting choir. The jagged and complex beat is paired with interesting chord progressions from the choir.
"Who Is It?" and "Triumph of a Heart" distinguish themselves from the rest of the album by using heavily layered voices to create a full and pervasive sound driven by the addictive dance beat. Björk's voice soars above the complex elements to create a cohesive sound. "Triumph of a Heart" also showcases a "human trombone" to create a unique and fuller sound not seen on the other songs. These two songs are the most like the dance hits that Björk excels at writing.
Other songs like "Desired Constellation" are decidedly minimalist. You often feel like a million wailing Björks surround you. Occasionally these songs sound incomplete or like transitional pieces. Some listeners may also be turned off by the songs with no beat-boxing as Björk's echoing, wailing, and panting can be a bit much to take by themselves. The more successful songs are the ones that employ each element to create a multi-layered composition. Each song on Medulla leads into the next one seamlessly, and even after the occasional clear break, the songs ebb and flow in an order that leaves you wondering what's coming next.
Simply put, this album is all Björk. At times, you will hardly believe that the layers upon layers of voices are voices at all. Although she does stray from her usual love of electronic beats, in many ways this is an amalgamation of her previous albums: Some tracks are as ethereal as any on Vespertine, while others have an experimental sound just like Post and the heavier, grounded tones of Homogenic. Each song is so drastically different (though uniquely Björk) that everyone will find something they like on Medulla. If for no other reason, this album is worth listening to for the amazing manipulation and diverse sound of each voice. You will be astounded.
© 2004 The Yale Herald | The Herald is an undergraduate publication at Yale University. | Please see the Contact page to reach us.
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