Medúlla
Björk
2004
Album Summary
Medúlla is the fifth studio album by Icelandic recording artist Björk. It was released on 30 August 2004 in the United Kingdom by One Little Indian Records and in the United States by Elektra Entertainment. After the release of her electronic–influenced previous album Vespertine (2001), Björk intended to make an album almost entirely a cappella constructed with human vocals. For the project, she collaborated with vocal artists such as Mike Patton of rock band Faith No More, beatboxers Rahzel and Dokaka, as well as Inuit throat singer Tanya Tagaq. The album's title derives from the Latin word for "marrow". Medúlla received critical acclaim from music critics, with many calling it "unique", although others deemed it "confusing". The album was also commercially successful, reaching number one in Belgium's Wallonia, France and Iceland, whilst also peaking within the top ten in the United Kingdom. Medúlla is estimated to have sold more than a million copies worldwide, and received two nominations at the 47th Grammy Awards. Two singles were released from Medúlla: "Who Is It" and "Triumph of a Heart", with both charting inside the top 40 in the United Kingdom and the top 10 in Spain. Björk further promoted the album by performing the song "Oceania" at the 2004 Summer Olympics opening ceremony, Friday Night with Jonathan Ross and other television and radio shows. Other than these few performances, no concerts or tours were arranged to promote Medúlla, as Björk thought it would be too difficult to play the songs live. In 2015, the album was adapted into an opera at the Brussels opera house La Monnaie by Sjaron Minailo and Anat Spiegel.
WikipediaQuite an achievement. Very brave and adventurous but still pretty listenable for the most part. Brought together an incredible crew of voices here. Makes sense that a singer would want to more fully explore the possibilities of the human voice.
What the f*** is this album? I can normally struggle through most any album, and listen to every last minute. Not this one. Wandering, boring, confusing, unnecessarily disjointed. I find nothing redeeming here. Solid F
India’s Shubham Choudhary first said ‘Good things come in small packages.’ In the case of the diminutive Icelandic singer, Bjork, on 'Medulla,' things become great. I’m not entirely sure in one review how to even begin do justice to the sheer majesty of Bjork, so in its place I think I’ll simply bow in honorable recognition, and pledge my faithful service. This is music that is best experienced before understanding. So, I’ll keep this one uncharacteristically brief. Are there (m)any other artists beside Bjork who can create the cornucopia of musical sounds so aptly describing moods and emotions, while utilizing almost exclusively vocals? What does a palm full of diamond stars being cast like dice on a table sound like? ‘Desired Constellation.’ How about the glub-glub sound wine makes as its being decanted? ‘Mouth’s Cradle’ recreates that, and to the further accompaniment of a chorus of dark, mournful angels. What do you think greed sounds like? ‘Where Is the Line,’ that’s what. Or the inner sounds of a working human body? ‘Triumph of a Heart.’ Bjork’s creativity astonishes throughout this entire LP. And the strength, passion, range, and elegance of her vocals on ‘Oil Birtan,’i.e. or ‘Desired Constellation’ (possibly the best song off an LP chocked full of wonders) rivals one of 20th century America’s greatest singers, Barbara Streisand. Add to the mix Icelandic and British choirs evoking medieval monastic cathedral tones, background vocals from Faith No More’s Mike Patton and founding Soft Machine member, Robert Wyatt, the incredible Inuit throat singing styles of Tagaq, a team of talented beatboxers, all recorded and mixed by an army of programmers and engineers manifesting Bjork’s visionary arrangements, and the end result for the listener is like unwrapping fourteen sparkling, magical songs presents under the tree on Christmas morning. And great things, incredible things, come in each of those little packages, one after another. Bjork’s compositions and performance on 'Medulla' is nothing short of spellbinding. An extraordinary work of art.
She really commands a unique space of her own, I admire and respect that.
Well, this is definitely a Bjork album. Like every other Bjork album I've ever heard, I enjoyed it. However, there's not a lot that I can say about this album that I wouldn't say about any other Bjork album. It's challenging at times, experimental in a way that often hits home, carried by her voice despite the fact that her voice isn't particularly incredible (it's good, just not super notable). The layering of different voices in this album works really well and is the biggest strength of Medulla. 4/5
The more experimental-side of Björk. I'm glad to listen to more of her different albums since I have never really heard them. A few songs on here I would listen to again but I don't love them all, still all respectable. Vokuro is like a lovely Gregorian chant and I'm a sucker for that. Who Is It starts off with a minimal choral vocal arrangement then goes into some crazy synth/beatbox drums with more uptempo vibes, kinda like it. A lot of the various octave vocals are unsettling and I'm not a huge fan of their implementation, but it's bold. The whole album feels like a progression and is essentially a narrative/play to me. I could see a whole interpretive dance performance to this. I love the bitcrushed/snappy percussion start in Desired Constellation and when the vocals amp up and the whispers come in left and right. Oceana has some really impressive instrumental flourishes that come in and out. Ancestors is kind of disturbing actually, not a huge fan. Pretty crazy for 2004, the production is beautiful as well.
This is a highly experimental album - nearly every single instrument is the human voice. This is an interesting concept, but Björk manages to pull it off and still sound like ... Björk. This is a small hiccup for me. I have massive respect for Björk, but could never really get into her music. There is only a handful of Björk songs that I like. Luckily, one of these is Oceania from this album, in which Björk summons an incredibly amount of energy, which I find is lacking in many other of her songs. All in all, I'm a bit torn, but I'll give this album 3.5/5.
Fascinating album using mainly voices, Björk’s experimentation is often tricky to listen to but ultimately absorbing. Her singing ability is on a level with the greatest opera singers. Mesmeric.
I can’t tell if I like this for my principled appreciation of weird, experimental shit or if I actually enjoyed it. Either way bjork and sault are like the only two artists I’ve gotten that have made me seek out more of their music. Side note: her music is eclectic asf. Submarine was my fav and sounded like a demonic barbershop quartet
Not the easiest Björk listening experience, I’m more partial to her more accessible stuff from Post. But it’s beautiful nonetheless. Oceania and triumph of a heart are my favorite. 3.5/5
After listening to the 1st couple of songs I feared this was one of those "accomplishment" albums that made it on to the list it was acapella (with Bjork's voice, a scary thought). Then I hit the third song "Where is the Line" and liked it. The next track "Vokuro" was great too but very different. "Triumph of the Heart" is adventurous. Some of the others are enjoyable but often followed by something annoying.
Indulgent and slightly irritating. Not entirely convinced that this list needs more than one Bjork album.
Avant-garde is certainly accurate for this album. I don't dislike it but I have a hard time enjoying the vocals throughout all of it. If this was a instrumental album or even a limited vocal performance album I would enjoy it more. I'm confused as to how to rate this album. At times I get it and love the artistry and at other times I just feel like I'm about to be possessed.
Þetta er bara ein besta plata sem ég hef hlustað á. Hljóð-heimurinn er úr annarri veröld. Einnig ekki hægt að gefa íslending hér annað en fimm stjörnur. Við kunnum þetta
Hoots and boops, moans and growls, mewling and heavy breathing. Unlike anything else. Björk!
I'll be frank: I didn't expect Nordic Beatboxing tonight, but it is a welcome sound.
Music of the Feywild. This was one of the coolest, most unique projects on the list, and I can't get enough of it.
really good I liked Vespertine more but this was still really fun and experimental I think there were a lot more vocally oriented tracks, a cappella and whatnot but the instrumentals were crazy too it was awesome hearing just how heavy some of those songs hit amazing experience- 10/10
I had mixed feelings when I saw that the album today is from Björk. At the same time, that is not my favorite music style (far from it), but it's impossible to say that she does not bring a great personality and a natural artistic feeling to this list. Given that this album is an excellent way to spend 50 minutes. More experimentalism than I like, but in the end, it's good music. This is the third Björk album that I got here, and I hope this is the last, but if not, I'm sure I'll enjoy the next strange musical trip waiting for me there. It's necessary to rate it with five stars because some music is far from my preference, but it's a piece of art.
Finally I can dust off my hipster beret and say I completely loved this challenging, beautiful album and played it through three times today. What gorgeous, inventive use of vocal layering, and the songs underneath it all are so great! Maybe a new favorite.
Seriously impressive. It is not going to be to averyone's taste, but the vocal control and technical competence is just at a different level to nearly anything else I have ever heard. The phrasing patterns are distinctly Bjork, whether this is her or an effect of having icelandic as her first language I don't know, but it certainly is distinctive. Well constructed harmonies, with minimal instrumentation make this a vocal tour-de-force. There are moments that don't quite work for me - Ancestors is too discordant and chaotic for me, for example
Absolutely love this as an idea. And as it turns out, also in its execution. The first Bjork album I didn't pay attention to when it came out, I think after 4 absolutely fantastic albums, I felt I had enough to be going on with and checked out other stuff. Came back to this recently ahead of going to see her at Bluedot. Triumph of a Heart is spectacular (watch the video), Who is It, Oceania also excellent. This has gone from the book but Vulnicura remains, which I find harder to like and find less noteworthy really because of the unique (lack of) instrumentation here. I want to argue with people who think Bjork only makes mental music, get to the point where they're willing to listen to examples to back up the argument, then play Ancestors to them and run away.
This was my third listen of this album. I’ve heard all of Björk’s solo albums (besides the jazz one, Selmasongs, and the one she did as a child) and I think this is my favorite, although it wasn’t initially and it might change in the future. Despite that, I’m surprised that this (+ Debut and Vulnicura) is even on this list when Post and Homogenic aren’t. I don’t know if I have much to say about the album itself because I don’t have anything insightful to say about it. It’s just good. Favorite songs: “Oceania”, “Pleasure Is All Mine”, “Mouths Cradle”. (Also, by the way: would like to change my ratings for Debut to a 5, Abbey Road to a 4, and Tracy Chapman’s self-titled album to a 3 because my rating system has already changed.)
Beautiful, mesmerising album. There's always something new to discover in it.
intense and weird like all bijork almost religiously pretty. 4. maybe a 3 if im having a shit day tomorrow.
Would I play this at a party? No. (That's a lie, but most people probably wouldn't.) This is not decorative. But it's interesting. Beatboxing and throat singing in the same work? Wow. Experimentations with the human voice as instrument. I don't know how to rate this. Some of it was intriguing. Some of it made me laugh out loud. Some was really challenging to keep listening to. Sometimes, listening on my headphones made me feel like I was possessed and had voices in my head. Björk didn't just stick to what worked before, did she? So, I'm going to celebrate her artistic audacity here.
Like stepping through a contemporary art exhibit. Her sound is more polished and atmospheric. Bjork takes on a more experimental approach here. Unlike her previous albums, not every song is intended to be pop-structured. Instead, we have these heavy glitch pop hits interlaced with simple a capella. It's insane when the channels are isolated and you realize it's nearly entirely a capella, even the heavy noises are beatboxing. This is meant for focused listening. The tracks are ethereal and frankly somewhat surreal that it will be found boring and distracting to listen in other means. It feels like a guide to a capella with how astonishing the producer can make a capella so recognizable yet versatile in utility. Some songs feel like a precursor to chillwave. Many of the simpler songs remind me of a late medieval choir. In terms of complaints, there's not much relistening to with so many experimental tracks. It helps that they're shorter, but you have songs like "Ancestors" which would help being half its length, but I could see how that could lose artistic effect. The album picks up and peaks in the middle, losing its momentum after "Oceania." The simple tracks don't engage me like the earlier ones. "Mouths Cradle" doesn't evolve much and ends anticlimatically, but its grand sound reminds me of the Norfair theme in Metroid. "Triumph of a Heart" is a lighthearted humorous finish. Please watch the music videos to this album.
4.0 - I fell off the Björk fan-wagon with "Vespertine", just feeling burnt out on the weight of that album and her cringe-y "Dancer in the Dark" project. This album reminded me of what I love about her as an artist: the cocksure experimentation, the strange mysticism and the haunting melodies. Despite all the weirdness, the record feels light and human. Maybe it's the a cappella aspect, which is both boundary-pushing without being gimmicky.
Le concept est original, l'album est court, la voix est superbe, tout l'inverse des Smashing Pumpkins.
A very ambitious and fascinating album that many artists wouldn't be able to pull off, let alone make the end result sound so unsettling in some places and beautiful in others
This made me feel like I was a cool witch when I am a little nerd playing animal crossing on a Thursday.
I just told someone "If there is such a thing as a 'mostly the singles' fan or Bjork I am it" but this was interesting and clubby in a way that was accessible for me
This is the most Björk album ever. A horrible start for anyone new to the singer and the perfect album to test wether or not you really like Iceland’s most adventurous musician. Claustrophobic, haunting, devastating but still stunningly beautiful. A unique album to be sure; but what a thrill. This is THE Björk album I would love to hear performed live.
captivating, addictive although I still dislike Bjork's singing manners
I thought 'Oh no not another Bjork album' but I like this. I've always thought I should like her- all the ingredients are there but never clicked. I like the capella slant though. Very well produced and executed.
I really need to listen to some more trip-hop, it is aesthetically pleasing to my ears
I really enjoyed this Bjork album and especially the appearances of two artists that I like a lot, Tanya Tagaq and Robert Wyatt. 2 unique voices to join Bjork's string of eccentricities, it's perfect.
Many will say that this is where Björks music started to collapse under the weight of her concepts/character and I can see why, but I think this one still has a lot to offer, both musically and emotionally. The album was made to explore the possibilities of the human voice and as such, I think it succeeds to demonstrate how strong, fragile and diverse our voice can get. It's also less catchy than anything she'd done before, but I think this one is supposed to talk to the heart instead of the feet.
Very cool experiment. Can never go wrong collaborating with Rahzel and Patton. But hardly repeatable.
A really strange and beautiful album. I can't say I am a fan of Bjork, however that is not because a dislike of her music more because I have never really heard her solo music. I don't think this is the best introduction, I presume not anyway, nevertheless I enjoyed it 3.5 stars
It's much better than I remember it being but it's still undeniably niche.
Non ci sono strumenti musicali, ho paura. Non così pessimo, ma sicuramente straniante. Particolare a dir poco, tra il 2 e il 3.
This was interesting and experimental, some songs worked others didn’t. Really glad I listened but would I listen again probably not.
The album is decent but her voice is starting to get to me. I appreciate the notes she can hit but it’s still getting to me.
A lovely voice. The music felt like an avant garde art performance. Might have been more tolerable if I was deep into my cups
This album presents me with a conundrum. I was in awe of what could be done using just the human voice. Once I had admired that, the mostly slow vocal delivery of the main lyrics became tedious. I appreciated this but could not find emotional connection to it. Still, I am marveling at the accomplishment of this album. I understand why it is on this list and it is definitely something to behold which rounds up the rating half a point. But the academic attraction I felt was not enough to say I enjoy this.
I really appreciate the concept of the album. I didn’t realize from the start that it was pretty much all human vocals. At the point that I asked myself “Is that someone beat boxing?” I suddenly became more aware of what I had been listening to. I did find quite a bit of the album a challenge, though. I was not able to embrace all the compositions even with the variety of interesting vocal sounds.
My favorite Bjork album. I feel like it's severely underrated by her fans.
Þessi er skemmtileg og vel gerð. Er ekki reglulegri hlustun þó, því ég myndi fá leið fljótt.
Á ma grande surprise cet album n'est pas classé dans la catégorie trip-hop et pourtant, j'ai ressenti tous les désagréments procuré par ce genre musical sur mon comportement : montée de stress, mains tremblantes, pensées suicidaires, diarrhées et j'en passe.
Some amazingly bright moments on this brought down with an bit too much dull and aimless experimentation. Worth a listen for the good tracks
Pretty much what one would expect. Was a long one, but fair play to her for creating this.
Greatest a cappella achievement since Don’t worry, be happy? All joking aside, it is impressive how much warmth and intimicy is created on Medúlla through the use of the human voice. This is amplified by the production on Björks voice, which makes you feel like she is either whispering or screaming into your ear - a great example is on the Icelandic 'Vokuro'. Maybe a bit uneven track listing favoring the first half - or perhaps the curiosity sparked by innovation quickly wears off?
Well, well, looks like this album features none other than ol' Robert Wyatt (of the ''nit nit folley balloley'' fame), on 'Submarine' and 'Oceania' no less, still looking for that mermaid you old sea dog? I should have known our paths would cross again, after all, it may be a list of 1001 albums, but it's only like 50 artists. But enough about falsetto Bob, let's get to the star of the show, also known as the human beatbox - Rahzel. Ok, maybe not the star, but on a mostly acapella album, his beatboxing provides some indispensable grounding. The tracks that don't feature him suffer for it. I actually think just an album with just him and the Icelandic choir would have been interesting. Bjork could play the triangle or something. Half kidding. Speaking of the Bjorkster. I've had the occasional pleasure and occasional misfortune to hear her music before, but this album is a first for me. And for the most part it's a combination of pleasure and only occasional uncomfortable squirming (Ancestors stands out in particular). But for 45 minutes of Bjork, it is pretty damn tolerable. I feel compelled to comment on the lyrics. Some are in English, some Icelandic, still others appear to be just gibberish. As I don't speak Icelandic, and Bjork's English prose is of the a million monkeys on a million typewriters variety, it's all equally incomprehensible to me. I'm not sure how to appraise it, I respect the artistry of it, but giving it a 4 would not be consistent with my rating system so far. So a 3 it is, leaving plenty of room for her to impress me with her other work. Best songs: everything with Rahzel (But especially ''Where is the line'', also featuring Mike Patton and the human trombone Gregory Purnhagen).
Sonically adventurous, and marked by Björk's ear for dynamic melody. I'm just not sure it's an album I'll end up listening to more than once.
bjork - medulla (2004) notes: - follow up to vespertine (my fav) - didnt know going in that this was capella - thought it was just an interesting gimmick for the first song but it just kept going - never really worked for me, theyre good songs that would have been much better with instruments imo fav - oceania - the acapella stuff didn’t distract from this one - when she hits that high gritty note you can feeeeel it least favourite - grunting moaning breathing and animal noises for like 4 minutes - theres a bit in the middle that sounds like using a pump to blow up an air mattress - also kinda sounds like that korn song 3/5
No one is allowed to say that Bjork never innovated or pushed boundaries during her career. While an entire acappella album is risky (especially given the standard of quality set by her first 4 albums up to this point), I think that her execution here warrants respect. Utilizing different vocal styles throughout (choral, Mongolian throat singing, katajjaq, etc.), Bjork accesses a wide range of ambience and sound textures in order to give each song new dynamics. This avoids the obvious trapping of the album getting boring, as one would imagine using only your voice as being limiting. An easy highlight is the song Who Is It, which has long sustained notes being sung underneath Bjork's primary vox and a beatbox that makes it feel like it could be a normal pop song. It's a stunning use of vocal layers that serves as a testament to Bjorks compositional abilities. I sympathize with this self-imposed limitation as a way to sprout creatively, Bjork could have very easily found herself in a slump after coming out with four of the most innovative pop albums of all time. I do, however, struggle to think that a whole album of mostly acappella songs were viable to up to a certain level of quality. That is, these songs can only be so good. I think Bjork hit the upper limit of how well a vocal-only album can be, and that limit floats around the word "impressive!". It's impressive. It's not something you'd listen to again because the novelty of it precedes the actual content. This is a trapping that Bjork simply could not break free of, and that kneecaps Medúlla. I appreciate it nonetheless.
Probably my least favorite album from Björk, from the selection I've heard. It lacks instrumentals and is way too focused on vocals. Her voice and experiments are great, but simply not enough to sustain the whole album.
First time listening to Bjork, Not sure what to make of it,Might give it another go
Ouff pas certain de cet album. Certaines chansons sont pas si pire mais en generale c’est vraimemnt pas quelque chose que j’aime. Je comprend les bruit de bouche/gorge, c’est quelque chose d’original et ca vaut la peine detre enentendu mais l’album est vraiment juste boff. Je ne vois pas quand on peut ecouter cela pour le plaisir. 2.5
oooh everyone look, it's Björk and she's being weird again! Isn't she just so WACKY? 2/5.
Kudos to her for being brave enough to release an acapella album. She gathers an eclectic mix of artists including human beat-box Rahzel and Inuit throat singer Tanya Tagac. She references many styles including Gregorian Chants and Bulgarian women's choir music. Overall its a pretty impressive and ambitious project, but in all honesty I would never seek this record out for listening pleasure, its just a bit too inaccessible for me.
I don't have access to the substances required to enjoy or understand this album.
Unique and strange, but interesting strange! I personally believe it could have benefited from being a shorter album, as in my opinion, less is more for "different" music
I appreciate what Bjork was going for, but for me it didn't translate on paper well enough. Kind of got lost and disengaged througout. Bit of a shame because I've really liked Debut and Vespertine from this list, and Post is one of my favourite albums from that era.
Only managed a couple of tracks so not really fair to score this album. Bit Bjerk- y, as you’d expect so 2*
Dear Bjork, First of all, congratulations for having another record on the list of 1001 albums. For me, this is the second record I've reviewed, as previously your debut album was presented here. Clearly, your talent and your critically acclaimed works have taken your career through several decades and I expect many more releases in the future. That being said, my opinion of your work hasn't changed. After listening to the first couple songs on this album, it was apparent to me (again) I'm not a fan and was hoping the album would end soon. I don't know if it's because your music is getting weirder or more complex, which is unlikely, because your music has always been weird and strange. It was a difficult listen, but I listened to the whole thing! Sorry, it's not for me. I still have several hundred more albums to go and I have a feeling we'll meet again. Sincerely, TDIT
I can't name the coherence-beyond-formal missing from Medúlla, but as much as I'm glad I listened to it, the record is certainly missing it. Shaw's Partita seems to be in the same vein, but I didn't have as much trouble following the thread of that work. I love Matmos's more abstract projects, but bounced off the surface here. Right now, I can only identify the obvious: It's all voices! There are lots of great collaborators! All true, but where many seem to see strengths I see only descriptions. I hope my opinion either moves or sharpens in the future.
This really has done nothing for me. Cannot get beyond my indifference to her style of singing. Not for me
Koko levystä kumpus mieleen kohtaus Boogie Nightsista ku ne meni myymään huumeita jolleki rikkaalle ja siellä oli räjäyttelemässä papatteja joku aasialainen poika.
Left this for a few weeks as I wasn’t really in the mood for Björk’s voice only experiment. Turns out it wasn’t so testing. Not great, but interesting effort. Only the last song with obvious beat boxing stood out to me. A little too much choral-styles. Worth going on this list for the interesting experiment nonetheless.
Nice idea to explore things like throat singing but honestly the result of it didn't sound appealing at all so I cant even give this extra points for effort
Her vocal talent is the only thing saving this incredibly hard to listen to album from only having a single star. Vocal loops and irritating movements in the instrumentals, made this feel like work and and not entertainment.
This is a bit mad. Very funky sounding, a lot going on from all sorts of different directions, and some clever layering. But, for the most part, the sound that comes out isn't something I actually like that much. It's not unpleasant, but it's not something that I find particularly memorable for anything other than 'that was a bit weird'. Top end of the 2 range.
En algún momento de mi vida mis gustos se encontrarán con Bjork y la entenderé, pero por ahora me resulta que se pasa de "experimentar por experimentar". Siento que el disco gira en torno a una misma idea con variantes en cada canción probando a ver dónde atina. Entre todo ese mar, rescato Oceania, donde la experimentación cobra algo de sentido; pero en general no es tanto un album como un banco de pruebas para un artesano
Un dels artistes més sobrevalorats de les últimes décades. El que hom pot veure d'interessant en ella és quelcom que se m'escapa. Es pot valorar la seva valentia i les seves ganes d'explorar nous territoris... però és que no arriba gairebé mai enlloc
I honestly feel like I'm being generous giving this 2 stars. I didn't understand the point of any of it. There's probably an artistic angle I could take to justify it but if I'm being honest it doesn't feel like there was anything worth listening to here.
Bit much for me at points, but I’d rather listen to this than some other albums on this list.
Intense and passionate! A little too obsessive to my taste. Do not listen in the morning. The mood is agressive and self centred. On the other hand, one can enter with her in that state of psychological intensity where she appears to dwell. Not my cup of tea.
I knew it was going to be weird... Just not sure how to listen to this. More drugs maybe?
The fifth album from Björk took an experimental turn by using mostly acapella vocals to construct the majority of the album's songs. Because of this choice the album was critically acclaimed, but left critics either amazed or confused. I was one of the latter, being confused by the direction each song took. The songs did not seem to blend well together and besides a couple of them, the songs weren't that interesting either - even when being produced entirely by a human voice. Still, this is a unique album so I understand why it's on this list.
Just more Bjork garbage. I will never understand how anyone could like her stuff. Such a shame how there's so many more talented people who don't even get a tenth of the recognition she does. 2/10.
We get it Bjork. You're a creative artsy type. Far too Indie for me. 1/5
Points for being very unique. Some of the songs were an absolute no-go for me. The beatbox songs were fun.
I either wasn't in the right frame of mind or this was truly horrible. Either way, did not like.
More boring bullshit by Bjork Seriously, WTF is this and why is it on any list, let alone a list of albums you must hear. If it was on a list of albums that should be taken out back and shot, I could get behind that.
I bounced off this pretty hard. Not sure what this was about or who it was for.
“Desired Constellation” is OK (interesting that it was co-written), but the rest of the album sounds like experimental art school project. I like Bjorks voice, and she’s an interesting song writer, but it’s just too much.
Maybe this is Mike Patton's only appearance in this list, but I can't. Technically, probably an amazing album. Plus one for the cover, Patton, and Rahzel. I haaaaaaaaated it. It probably ruined my day. It ruined my mood, left me depressed and irritable and haunted.
This played in a loop would destroy the soul and crush the mind. It should be used to get confessions.
I'm at a loss for words. I'll keep it simple. This sucked. Like a lot of suck. A whole lot.
This is Björk's second album on this list. Björk found a way to make another shitty album but this time with no instruments. Please for the love of God skip this one.
Siinä määrin hieno levy, että meikäläinenkin osais duunaa näin paskaa kamaa. Jäi kesken.
Achei um saco, muito chato. Todas as músicas parecem iguais, nem consegui terminar...
0/5 This is the first album I stopped listening to because it was so bad
Entirely too slow and strange for me. Could barely get through one song
There were some notes and sounds that were cool, but most of it was awful and I didn't want to hear it.
The best songs are the ones in Icelandic, because then you don't have to be burdened by understanding what she's saying (I kinda want to look up the lyrics to Desired Constellation, but I'm too young to have a stroke). Then again, they're also usually the ones where she decides to howl or something. I tried. Best track: Vakuro
Ugh. Bjork. I cannot fathom what the draw here is. There's no structure to any of these songs. They're just weird for the sake of being weird. And her warbling baby-talk voice is literally maddening. Hate it so much. In fact, I hated everything about this experience. Everything. Zero stars isn't an option, so one will have to do.