179,854Messages
9,130Senders
30Years
342mboxes

← archive index

[idm] Review: Bjork "Vespertine"

1 message · 1 participant · spans 1 day · search this subject
2001-08-31 19:50Kent williams [idm] Review: Bjork "Vespertine"
expand allcollapse allclick any summary to toggle that message
2001-08-31 19:50Kent williamsThis is for our local 'alternative' newspaper, so I've said some things blindingly obvious
From:
Kent williams
To:
i'd do mary
Date:
Fri, 31 Aug 2001 14:50:11 -0500 (CDT)
Subject:
[idm] Review: Bjork "Vespertine"
permalink · <Pine.HPP.3.96.1010831144828.15522C-100000@arthur.avalon.net>
This is for our local 'alternative' newspaper, so I've said some things blindingly obvious to IDM'ers ... ---------- Forwarded message ---------- Bjork "Vespertine" Electra 65653-2 A Bjork record is a always an eagerly anticipated event. While her fans hunger for new material to devour, the rest of us wait to see which direction her irrepressible eccentricity has taken her this time. "Vespertine" marks another station on her journey to perfect wackiness. Luckily it's much more than that. Her songwriting -- especially her melodic sense -- has never been better. There are art songs here that could stand quite well on their own, independent of the muttering, clanking beats. "Cocoon" is sublime, though I can't imagine many singers being as comfortable singing about falling asleep in the midst of lovemaking. Complementing the songwriting is perhaps the most left field production ever to grace a major-label release. Bjork's own laptop experiments are the core, but she's also enlisted the help of electronic producers Matthew Herbert, whose latest record "Bodily Functions" is built on samples of noises made by the human body, and Matmos, who most infamously sample the sounds of surgery. Unlike Madonna, who chooses her collaborators to shore up her fading street credibilty, Bjork chose her collaborators for their uncomfortably personal production techniques. They complement her hermetically self-involved themes of home and family. While most might think computer production impersonal and sterile, Bjork takes the contrary view -- nothing is more personal than firing up the laptop, putting on the headphones and shutting out the world. Her voice throughout is a marvel of idiosyncratic expressiveness, from a raspy, wavering whisper to pure full-throated wail. It's contrasted and complemented by the pure tones of an Inuit girl's choir and lush string arrangements. Perhaps the supreme oddity of "Vespertine" is that it addresses home, family, and innocent love without going slack. Most pop musicians who find domestic bliss seem to run out of ideas; Bjork seems to have found a whole universe to contemplate from her kitchen table. --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org