Medulla [CD]

OK, I listened to it once, and seriously thought I'd wasted my money. But my advice on this album would be to play it again and again, and after a few spins, it becomes hypnotically beautiful. It certainly isn't commercial, but if Bjork sold herself to the masses, she'd lose at least this one fan. You really do have to try with a lot of this music, and I don't profess for one moment to understand one half of what Bjork is trying to communicate here (but then I only got the album a few days ago). I've listened to it regularly and have to say this could rank as the best contribution she's yet made to the music industry. It's different, some people sure are gonna loathe it, but I say bravo for doing something so personal and original. Some of it sounds more classical than popular to my ears (possibly due to her recent collaboration with John Tavener) - track 4 is an example. I didn't think Bjork still had it in her to surprise me, but hey, she's done it again!

It is almost impossible to view any film, listen to any piece of music or read any literature created post-September 11 without being informed of the dreaded events forever connected to that day. The senselessness of the violence, its display of the fragility of the human condition and the sinister machinations behind the attack made people so frightened, so self-aware and so angry that it ignited popular opinion and discussion. MTV icons such as Pharrell Williams and Eminem suddenly became pro-Democrat sounding boards whilst Britney Spears publicly stood by Bush and his whacking, turning Michael Moore into the new American movie superstar. Amid the paranoid flux of international threat and pop politics gone awry, Björk, who had moved to Manhattan just before the attack, withdrew into her own world with a second child on the way. After the floaty poetry of "Vespertine", as well as touring the premier opera houses of the world with that album, Björk was keen to get "primitive and silly" again, as she has said in interviews. And "Medúlla" was the result ...

"Medúlla" has become, and most likely will remain, a point of contention for Björk's fanbase (even the hardcore ones). Acapella albums rarely work, and are often accused of being relatively samey with a particularly heavy reliance on choirs. And since her auspicious "Debut", Björk's music has developed a reputation for moments of orchestral splendour mixed with the best state-of-the-art programming that money can buy. What people forget though is that if anyone outside of the nu-R&B/Soul collective was to make an acapella album, surely Björk and her distinctive voice would be the most appropriate to take on such a challenge. And even if she uses the choirs more than once (can't be helped when they sound this heavenly, though!) the result is her most punky, dance-flavoured album in a while, as well as her most political and contemporary.

"Medúlla", meaning "marrow" in Icelandic, serves up quite a mixed bag of pop songs, first off. Those keen to write off the album as Björk trying to be more leftfield than her reputation has already established really ought to listen to these pieces again because, aside from the instrumentation, Björk hasn't proved her pop royalty better since Post. The likes of "Who Is It (Carry My Joy On The Left, My Pain On The Right)", "Mouth's Cradle" and "Triumph Of A Heart" boast the kind of buoyant melodies that Cathy Dennis would kill to concoct and are made all the more accessible with the choice of human beat boxes, which give them an almost-urban feel (Rahzel of The Roots, British beatmaker Shlomo and Japanese prodigy Dokaka all make indelible appearances). Alongside these we have some slow burner stunners where Björk allows her fellow vocalists to be even more experimental. In the avant-corner we have Canadian throat singer Tagaq and Faith No More's Mike Patton, but the ultra-special guest is Robert Wyatt, who puts in tremendous work on both "Submarine" and "Oceania". All this without a mention of the choirs (all arranged by Björk herself) heralds the Icelander's most varied and collaborative album to date.

The most beguiling thing about "Medúlla", however, lies in the themes prevalent throughout the songs themselves. Rather obviously, she has reserved songs almost exclusively about singing and songwriting for an acapella album, infusing them with as dramatic and textured a soundscape as can be found on either "Homogenic" or "Vespertine" thanks to the dearth of vocal talent on display. Key examples include "Pleasure Is All Mine", "Submarine" and "Triumph Of A Heart", each cementing Björk's placing as a unique vocal star. The most lyrically potent songs, however, exhibit explicit degrees of social consciousness and are about Björk and her relationship with the present world, more so than her previous albums. The most moving of these include "Vökuró", an Icelandic standard that has Björk sing to her daughter in her native tongue, and "Oceania", with Björk's melody and Sjón's ever-reliable lyrics (hear "Isobel", "Bachelorette" and the SelmaSongs album) providing a voice for the ocean, from which we have all evolved and continue to grow from. And proving that Bush-bashing is as inescapable as it is enjoyable, Björk commits said indulgence with "Mouth's Cradle" in an inspired coda, heralding the album's most epic moment. In its unselfish celebration of unity and uniqueness of the human voice, "Medúlla" is not only Björk's most upbeat album since "Debut", but easily registers as her most uplifting.

Although, "Medúlla" does have its fair share of rubs. Firstly, there is the vocal editing and programming, which often morphs the choirs and beatboxing into a keyboard signature that at times appears too sophisticated for the average human voice. You can take this as Björk cleverly commenting on the vocal distortions that tune many a pop star's voices towards unsingable octaves or most likely just feel ambivalent towards an acapella album relying so heavily on post-production software. And for the passing listener, the tracks sung exclusively in Björkian gibberish will seem like filler despite the harmonies that burst forth ("Öll Birtan" and "Midvikudags"). Granted, it was going to be hard to live up to "Vespertine", but "Medúlla" does offer up more stirring stuff than most pop stars can shake a stick at, and you cannot say fairer than that. As an "up-yours" to modern pop culture and a celebration of the voice, both what it can say and what it can achieve, "Medúlla" should be applauded.

An entire album that uses human voices as the main instruments?...sounds intriguing, and a concept that could only be conjured up by Bjork, who I consider to be possibly one of the most original artist of our generation.

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". Simplistic in terms of layers, but again...very beautiful and affecting. One of the only tracks where she is accompanied by an instrument, yet seems to fit in with the rest of the album perfectly.
"Oceania", is a joyful poetic tribute to the human race as sung from the oceans' point of view. Bjork's joined here by a choir singing up and down scales, giving the song a playful edge...aquatic and romantic.
"Ancestors", is pure improvisation with Bjork, a piano and a throat singer. It becomes almost difficult to listen to, but showcases Bjork's talent to be completely original, experimental and shows the versatilities between the sounds a voice can produce.
"Mouth's Cradle", seems more rhythmical than most tracks. A wonderfully romantic song of escaping inside a lovers mouth, "...Away from the Osamas and Bushes". This track refers strongly to the music concrette that was seen previously on "Homogenic" and "Vespertine", and is another excellent example of the vocal contrasts on "Medulla".

As one would expect from Bjork, this album is full of creativity and artistry. "Medulla" really does proove that Bjork is a truly unique talent in todays music industry. Buy, listen with an open mind, and be inspired!