No instruments? No problem. Welcome human beatbox artists Schlomo, Rahzel (of The Roots) and Dokaka. And many tracks still have a distinctly electronic edge, helped along by Björk's longtime collaborator Mark 'LFO' Bell. Björk also has the most powerful instrument of all at her disposal - her voice.
Fans will feel at home with the opener, "The Pleasure is All Mine", with those familiar trademark wailings and some pleasant Vespertine-like harmonies courtesy of an Icelandic choir. Many songs have a minimalist feel, such as "Show Me Forgiveness" and "Submarine" which features Robert Wyatt. The Icelandic "Vökuró" and "Sonnets / Unrealities XI" are full-on choral numbers with an almost religious tone to them. "Desired Constellation" is one of the more effective slow tunes, with Björk warbling over a background of delicate digi-noise.
It's not all simplicity though. "Where is the Line" is a mish-mash of ideas, sounding like a fight between a choir and a rack of effects boxes, with neither winning. "Oceania" too, which opened the Athens Olympics, is spoilt by some overenthusiastic vocal whoopings. An Inuit throat singer called Tagaq is also brought into the mix, whose contributions range from unnerving ("The Pleasure Is All Mine") to downright horrid ("Ancestors").
This is not a radio-friendly album. There are no "It's Oh So Quiet" moments here. The only really immediate tunes are the enjoyable "Who Is It" and the closing track "Triumph of a Heart" (listen out for the rather splendid human trombone on that one).
Medúlla has some high points, and it never gets boring, but it still left me feeling rather confused. It was recorded in 18 different locations, and you can tell - the end product feels disjointed and at times claustrophobic. Whereas previous albums like Vespertine were real growers, some people may lose patience with this one. The unquenchable desire to try out new ideas, which makes Björk such an exciting artist, may prove to be her downfall on Medúlla, as too much of the experimentation doesn't quite hit the mark.
But I still can't wait for her next album. --David Hooper
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Intriguing is right, along with beautiful and breath-taking.
Bjork has created a 14 track strong album that progresses on from where her marvelous Vespertine (2001) left us. Through the arrangement of the human voice, Bjork creates tracks that are diversely romantic, chaotic, experimental and dancy.
The album opens with one of the strongest tracks, "Pleasure Is All Mine", which quickly becomes one of her most beautiful tracks to date. Initially stark koo-ing, backed by various throat-like support, soon becomes a soundtrack of layered vocals; harmonious and soaring. As with her previous album openers, "Pleasure Is All Mine", prepares us for the following 13 tracks superbly.
"Where Is The Line", continues this layered vocal, this time accompanied by voice-box beats, giving the track a menacing feel. This track is one of many personal highlights, demonstrating the true versatility of the human voice. Addressing Bjork's frustration with someone, the track explodes into distorted chaos.
"Vokuro", offers us the exact contrast of "Where Is The Line". It is a beautiful, hymn-like track, sang purely in Icelandic accompanied by a male choir, simple against many of the other tracks, but still deeply haunting and affective.
"Who Is It", is a much more schizophrenic track, with its dark verses which quickly turn into an uplifting chorus, fuelled by it's 'Trip-hoppy' beat-box beat. Bjork's lyrics are as rich as ever here, "His embrace, a Fortress, It fuels me and places, A skeleton of trust..."
"Desired Constellation", reminds me of "Cocoon".