Medúlla

I've laughed a lot at all the one star reviews.

This played in a loop would destroy the soul and crush the mind. It should be used to get confessions.

Quite 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

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.

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.

I'll be frank: I didn't expect Nordic Beatboxing tonight, but it is a welcome sound.

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.

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

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.

Hoots and boops, moans and growls, mewling and heavy breathing. Unlike anything else. Björk!

Basal greatness

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.

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.

fun fact: beyonce was supposed to be on this album but scheduling problems got in the way and it never ended up happening. i really wish that happened but this is an amazing album. listening to all the different voices used is so interesting and it's so cool to hear how bjork combines all of them. you would think that an album like this would feel gimmicky but it is far from that. i'm very glad i got a bjork album on here because she's one of my favorite artists and i have been meaning to listen to this for a while. excellent album.

Music of the Feywild. This was one of the coolest, most unique projects on the list, and I can't get enough of it.

jörk, the Icelandic musical genius, has always pushed the boundaries of what's possible in the realm of music. With her 2004 release, "Medúlla," she not only continued her sonic exploration but ventured into uncharted territory by crafting an album almost entirely from human voices and vocal samples. "Medúlla" is a testament to Björk's unparalleled creativity and innovation, pushing the boundaries of the human voice and electronic manipulation. From the very first track, "Pleasure Is All Mine," Björk's hauntingly ethereal vocals immediately grab your attention. The album flows seamlessly, creating a unique atmosphere that feels otherworldly yet deeply human. "Medúlla" is a sonic experiment that bridges the gap between organic and artificial, as it features vocal beats, throat singing, beatboxing, and choirs. One of the standout tracks on the album is "Who Is It," which features a choir of voices mimicking the sounds of a full orchestra. The result is a stunning and emotionally charged composition that showcases Björk's ability to harness the power of the human voice in unimaginable ways. "Vökuro" is another highlight, a solemn and beautiful track that encapsulates the album's overall introspective mood. Throughout "Medúlla," Björk collaborates with a diverse range of artists, including beatboxer Rahzel, singer Anohni, and avant-garde vocal artist Mike Patton. These collaborations add depth and diversity to the album, making it a rich tapestry of vocal experimentation. Lyrically, "Medúlla" explores themes of love, nature, and the human condition. Björk's abstract yet poignant lyrics are open to interpretation, inviting listeners to connect with the music on a personal level. Her emotional delivery and unique vocal textures convey a sense of vulnerability and authenticity that is both moving and thought-provoking. While "Medúlla" is undeniably a masterpiece in terms of innovation and creativity, it may not be for everyone. Its experimental nature and unconventional soundscapes can be challenging for those accustomed to more mainstream or traditional music. However, for those willing to embark on a sonic adventure, "Medúlla" offers a deeply rewarding and transformative listening experience. In conclusion, Björk's "Medúlla" is a groundbreaking album that pushes the boundaries of what can be achieved with the human voice and electronic manipulation. It is a testament to Björk's artistic vision and her ability to create music that is both daring and emotionally resonant. While it may not be accessible to all listeners, those who appreciate innovation and artistic risk-taking will find "Medúlla" to be a captivating and unforgettable musical journey.

This is so beautiful, it brought me to tears. Literal tears. The layered vocal harmonies, particularly on Mouth's Cradle, are from another planet.

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.

Indulgent and slightly irritating. Not entirely convinced that this list needs more than one Bjork album.

Too squeaky & squawky for my liking

This was a mix of someone in significant pain, someone in ecstasy, or someone hyperventilating.

This is the stereotype of Bjork. This is what I sing when I’m making fun of Bjork. It actually makes me question what constitutes an album. How is this music and not “beat poetry”? Where is the line?

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

This is the most interesting album from this list yet. I'm so into this. 5 Stars. The end of Ancestors guttural retching was so hard to listen to I nearly docked a star, but not quite.

What even can I say about this album? I feel unqualified to really put a proper review to it. Highly experimental, sometimes haunting, chaotic at times and borderline unlistenable at others. It includes some things you don't hear much in recorded popular music - throat singing, beatboxing - overall it relies a lot on human sounds, and that brings out a raw and mysterious property. It really felt like some found album of a fantasy or alien civilisation. Honestly I think it's kind of beautiful in its total uniqueness. Surely there are few albums quite as unique as this one. A willingness to be this experimental realy makes me see why Björk is such a revered artist.

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

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.

The creativity oozes out of it. Her more experimental stuff after Post I still don’t like near as much as her first two but I’ve only listened to these later ones once so I’m sure they will all grow on me. It’s so hard to hate her and Kate Bush when even if an individual song isn’t for you it’s still very entertaining because it’s so unlike anything else. I’m interested to see how my opinion on these change over time but for now this one isn’t near as high as some of her others. Rating: 3.9

I found this an interesting album, with its focus on using the human voice for most of the music. I think this is an album that would repay more listening than I could offer it over a 24h period! I'm not wildly keen on Bjork, but I can see her obvious qualities as a rather experimental artis shine through here.

First time listening to björk. Anyway to make music with the human voice was achieved from throat singing to beatboxing it was so experimental

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.

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.

Bjork has a unique and wonderful voice, but this isn’t for me.

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

Pop, Rock, Ballade, getragen, 2004 -> 2

Not quite 1 star territory but can’t give it more than 2

I know Bjork gets hyped up by music fans but this ain’t it.

Just droned on, really not my thing

Struggled to get this one to two stars.

Don't get me wrong, I enjoy pushing my own boundaries when discovering new music and genres. While I can appreciate how experimental and bold this is, I can safely say I'll never revisit it. At times the various elements (instruments?) come together in a real dissonant or tedious way. Vokuro is pretty. Surprisingly, I'm still interested in hearing some of her other stuff.

ya

Björk gets five

Best thing about this challenge is being reminded to go back to albums I used to love.

5/5. Bjork really is hit or miss and fortunately this one was a hit for me. The sparse vocals and minimalistic instrumentation really challenges Bjork to make it interesting all on her own. Her beautiful and strange vocals shine through and with an album that has very little instrumentation, it feels all the more powerful for it. The features and background vocals stand out on each track. The layering is beautiful and the album is so well produced, each sound clear and not abrasive or too quiet. It does flow together very nicely but because of that I do lose my place and forget how many songs have passed. It doesn't bother me as I am going to enjoy going back to relisten to this one and fall back into admiring her talent. Best Song: Who Is It, Where Is The Line, Öll Birtan

If it's my good friend Box's favorite, then it deserves a 5

Layered, intimate and epic. This album was excellent. Bjork doesn't miss.

I loved this album. It was quirky, avantgarde, fun, and whimsical—all of the best things in life. Her voice is ethereal. It was truly unique.

Oh, this is cool - I kinda stopped following Björk's releases closely after the 90s so had no idea she did an album where almost all the noises are human voices - I woulda dug that! (Side note, making an album where almost all the noises are human voices and bringing Rahzel on board kinda feels like cheating, but damn, he does great work!) This was a great discovery, will definitely be revisiting. Fave tracks - "Where is the Line" and "Who Is It (Carry My Joy On The Left, Carry My Pain On The Right)" but really this is a whole-album trip!

I can’t think of another album that has made me feel so humbly human. This serves as such a great testament to the breadth of beauty possible with the human voice. Björk has a great ear for the way that vocal dissonance can electrify every fiber of a listener’s being. Björk presents some very challenging sonic palettes, but the structure of the album does a remarkable job of holding the listener’s hand. An étude and a symphony. One of a kind.

This is Bjork’s exploration of the human voice. While that exploration doesn’t yield my favorite collection of her songs, the exception being “Desired Constellation” which in my opinion is a masterpiece, it is still a journey that I’ll happily and repeatedly take with her at the helm. Rahzel, Mike Patton, Dokaka and Tonya Tagaq’s contributions are phenomenal and to hear all of these talented musicians making music together is the selling point to this album. The choir’s also sound incredible through out. Highlights for me are “Where Is The Line,” “Pleasure Is All Mine” “Who Is It…” “Desired Constellation” and “Triumph Of A Heart”. Overall I think this album works best with headphones or some high quality speakers turned up so you are fully immersed in the many vocal layers. Singling out certain performances and being able to focus on them is a challenge at times but when you do it’s always like finding a hidden gem within a cavern of sound. This may not be my favorite Bjork album, it’s still worth a 5 for me. I really hope Vespertine is on this list.

A notch under Björk's previous albums *Post*, *Homogenic* and *Vespertine*--all absent from Dimery's list if I'm not mistaken... I've said it before, but the fact that those Björk LPs are not included in the 1001 Albums book is one of the main reasons I can't *fully* take the latter seriously. In comparison to its predecessors, *Medúlla* is still a very nice record, if maybe not an "essential" one (more on that very soon). And this because it admittedly displays large amounts of Björk's stellar skills, as an artist blessed with a golden, formidable voice, along with an unquenchable thirst for groundbreaking innovations, and as one who can navigate the fluid waters of pop catchiness with the same ease that sees her crossing the treacherous tides of challenging experimental music. *Medúlla* is a concept album paying tribute to the human voice, and as such, it also questions the core notions behind Dimery's book or this app (which means that its inclusion was an interesting call, at least). To use one of the phrases used by Björk herself, here diverted to a new context, "where is the line" between establishing a list of the greatest records ever made (the, quote-unquote, "essential" albums) and doing so to highlight ones that may not be *that* essential, and yet sound like no other album on Earth, so original and singular are they (hence why you must listen to them before you die). I guess that if you cross that thin line, surely *Medúlla* should be listened to by anyone interested by vocal performances at large. The question is, is it *your* interpretation of what those nerdy lists are useful for? Hiring the services of luminaries such as Mike Patton, Robert Wyatt, beatboxers Shlomo, Dokaka and former Roots member Rahzel, the Inuit throat singer Tagaq or the Icelandic Choir, Björk thus created an album with 99% of its "instrumentation" composed of human vocals. And the result is definitely impressive on a purely "technical" and performative level (even if reading the liner notes, you realize long-time collaborator and programmer Mark Bell, from LFO, tampered with some of the performances through subtle editing). The beatboxing parts slap *hard*, most specifically. And Björk's vocals over them are a joy to hear. That said, when it comes to the purely artistic results yielded by that ambitious experiment, *Medúlla* admittedly risks coming off as a somewhat "mixed bag" at some points. Four groups of songs populate the album, and depending on your mileage, you might be at ease with all four of them, or just a couple, or maybe none. The first group of songs is made out of instantly memorable gems (in my humble opinion), which are mostly found right at the center of the tracklist. They are "Who Is It", as pop-sugarcoated as it is strangely tense in some of its nooks and crannies (owing to the unexpected modulations of its chord sequence on the chorus), or the soothing and mystical "Desired Constellation", whose meditative wonders will send you spinning between stars in the night skies. And there's also the mock-disco closer "Triumph Of The Heart" to take into account, a little quaint, but with a joyful killer chorus, and the most organic-sounding cut to boot when it comes to the vocal performances, with a very "live" feel. The centerpiece of that bunch of awesome cuts, however, (and the centerpiece of the whole album, really) is "Oceania", once performed for the London 2012 Olympics. It's one of the best and most elegiac ballads Björk has ever written (here with her friend and poet Sjón, like a lot of her other signature songs), as immediate on the ear on a melodic level as it is evocative on a conceptual one. Beatbox and tongue noises are logically moist in those deep-sea-inspired soundscapes, the eerie samples of Robert Wyatt's wordless humming ooze like floating seaweed--smartly hearkening back to his masterpiece *Rock Bottom*--and the elated voices of the London Choir spin and twirl like so many jittery shoals of fish around the Icelandic singer. Apart from compositions by Debussy and Ravel, whose music could express the sensations conveyed by the ocean so well, so *graphically*? "Your sweat is salty, I am why," the electronica diva gently croons after her voice soared one last time to the surface like a dolphin, in one of those typical and exhilarating ad-libs only her can pull off. Björk becomes the *ocean* here, literally. And the "mythic" result is as beautiful as it is transcendent. The second group of proper songs usually makes the best of the album's vocals-driven canvas to explore more specific tones and emotions, whether eroticism and sensuality in the lush--yet also curiously understated--opener "Pleasure Is All Mine", or frustration and nervousness as related to an intense, possibly unsound romantic relationship in the abrasive (and at times quite spooky) "Where Is The Line?". Those sorts of tracks are often displaying great musical moments, it's true. On the other hand, you'd be hard-pressed to find them in a playlist of Björk's most striking songs. Potential hot take here: I sometimes caught myself thinking Mrs. Gudmundsdottir could have released those sorts of thematic and sonic explorations in an extraneous EP so as to preserve the flow and continuity of her full-length releases. But more on that later... The third group of songs consists of very minimalistic odes ("Show Me Forgiveness", "Vökuró", "Sonnets / Unrealities XI", drawn from an e.e. Cummings poem...). They are all wonderful pieces taken individually, but their presence takes a toll on the album's flow and cohesion, once again, and this especially on the first half of the record. In that group of sober, solemn tunes, don't miss "Submarine", though. That cut, mostly sung by guest Robert Wyatt in a hypnotic multi-track superposition, is very special. And it proves that Björk was right to yield to *some* of her most unhinged impulses at least... Which might not be the case for the last group of compositions, at least according to the naysayers. Those cuts ("Öll Birtan", "Ancestors", "Miðvikudags") go full experimental-mode with all sorts of quirky squeaks, gurgles and grunts, and their off-kilter presence takes a toll on the second half of the record this time, almost ruining the latter's momentum. Björk confessed that she was looking after "primordial' emotions here, something cavemen would feel the need to express with their voices. It sure is interesting on paper, but what her most hardcore fans will see here as "liberating", "instinctive", "free-formed" or"free-spirited', her detractors will probably just label as "self-indulgent". Björk and her collaborators sound like they're having a lot of fun performing those cuts, sure. But in all honesty, they are probably having more fun than large swaths of their potential audience. Interestingly, the Icelandic singer-songwriter has recently largely returned to that full-blown experimental mode on her latest LP *Fossora*, maybe with an extra maturity that was lacking the first time around (even if *Fossora* is not always an easy listen either). As usual, fans rejoiced and others went "meh". But maybe there's a third way to make sense out of Björk's later career, which more or less started with *Medúlla*, incidentally. That third way is to keep an open mind for what she tries to accomplish, praise the artistry and the incredible imagination she pours into the latter, while maintaining some critical distance whenever she loses her way at times. In other words, be a listener first, and a "fan" next Having this record to review today proves it's actually nothing new. In 2004, twenty years ago, Björk had already reached a point where she probably deemed it pointless to prove anything to anyone: she had had hits, critical recognition, countless homages from her peers, all sorts of artistically rewarding forays into groundbreaking soundscapes that somehow managed to also be popular... Now she could let herself go to wherever her deep instincts led her to, whether it was a commercial track trying to catch up on the trends of the day, or a totally hermetic avant-garde endeavor. Now she could follow the footsteps of someone like Joni Mitchell, one of her models, and this for the rest of her life--risking potential ridicule, just like her, but also garnering long-time admiration for her undeniable integrity as an artist. Under that light, who cares if you're not releasing "essential albums" anymore? That sort of freedom is not for everyone, whether you're a musician or a mere music listener. And it's the sort of freedom that should be cherished. On *Medúlla*, Björk heard her later calling. And surely, the fact that it was expressed through voices, her most potent instrument, is no mere coincidence here. - 3.5/5 for the purposes of this list, rounded up to 4 (and no, I didn't make a mistake when I clicked on the stars: it's a rare *positive* protest vote to complain about the absence of other key albums by Björk--just like I clicked five stars for Lana Del Rey's *Chemtrails Over The Country Club* to protest about *NFR*'s omission) - 8.5/10 for more general purposes (5+3.5) Number of albums left to review: 97 Number of albums from the list I find relevant enough to be mandatory listens: 389 Albums from the list I *might* include in mine later on: 228 (including this one--but I will select *Debut*, Post*, *Homogenic* and *Vespertine* first, and I don't want my passion for Björk's music to ruin the occasion to include other great artists either) Albums from the list I certainly won't include in mine: 286

That was a goddamned brilliant study of vocal technique and virtuosity. Blown away, I am. I love Björk even more.

ok

first Bjork album I've ever listened to and wow I'm obsessed

Surely not even Bjork could pull off an almost totally vocal album. She triumphs.

Amazing! Definitely sounds influenced by Kate Bush's "The Sensual World" album.

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.

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.

This is absolutely an album you should listen to before you die! I can’t think of another album that made me so dramatically rethink what we’re capable of as humans. It’s amazing because it’s such a weird idea, but also so obvious to make an album exploring what the human voice can do and it’s kind of wild that no one gave it a shot like this before. I’ll be honest in that I’ve always waffled between admiring Björk’s kookiness and suspecting it was just a schtick to stand out, but I’m all in on admiration after this one.

Like a combination of Robert Wyatt's (who appears on this album) Rock Bottom and Sparks' song My Baby's Taking Me Home, Medulla is perhaps my favorite of the Bjork albums I've had the pleasure of listening to, because while its gimmick is just that, a gimmick, it does that gimmick so incredibly well that for 99% of the album I am entranced. Obviously the human voice is easy to manipulate into any form or context you'd like, but to be able to make an album where I struggle to discern the genre, yet have me totally invested from start to finish, with impressive melodies, a great amount of experiences I would only describe as "out of body," all the while Bjork has gathered some of the best voices I've heard to synchronize with and within herself to make something so (ironically) breathtaking is remarkable. I'm actually at a loss for words because it's hard to describe the feeling this album puts me in, but it is not one unfamiliar to that of other Bjork albums. She can make you feel frigid yet cozy with a single note, and that atop having a pretty solid hook among each of the songs makes it, in my eyes, something worth savoring every moment of.

Meget stolt af at jeg kunne kende Mike Patton på 3. nummer! Acquired taste men samtidig det første Björk album der har ramt plet for mig

A very odd Bjork album (as opposed to her very down to earth ones, lol). Nearly everything is done with just voices. Using choirs, beatboxes and effects on these. It's really pretty, and so impressive. It also has sexy Mike Patton on it, which will always bump things up a star.

a triumph. impressive in every way, really really really experimental but in a way i love. not particularly listenable but definitely entrancing

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.)

Truly beautiful

Incredible. Of course a few spots that don’t carry, but the overall concept and execution are tremendous.

I just love the plot twist, what a great artist and such an incredible album. Faves: Where Is The Line, Who Is It, Triumph Of A Heart

Yes! This is a top 3 Bjork album for me. All vocals, strange, beautiful, magnificent. Loaded with great guest artists. Up until this point, Bjork had incorporated various eclectic instruments and electronic music into her albums, but she flipped the script and went A Cappella for this one. Totally amazing. Getting the best human beat box and best male vocalist of all time to guest was an excellent decision. My favorite song is Vökuró. Easy 5 for this album.

So many negative reviews about this Bjork album. It is a challenging listen the first time as it occupies a unique place. Once you have listened to the album a couple times the shock wears off and you can really appreciate what she has created. Very simple and stripped down album, while still being quite complex and rich.

Such a good album

I've only got the Best Of album Bjork compiled from her fans' responses, good to listen to something else. Medúlla was brilliant, loved it.

Além de sua técnica vocal impressionante, a maneira como Björk transmite emoção e sentimento em suas músicas é envolvente a valer. O disco carrega um clima de tranquilidade ativa. Consegue prender a atenção e satisfaz a alma na quietude.

Bjork never ceases to surprise me. This album is an entire acoustic adventure. 9/10

This was the first Bjork record that I didn't immediately love when it was first released. Over time though, I began to appreciate it more and more. Almost every sound on the album is produced vocally. Mike Patton from Faith No More and Rahzel from the Roots appear. Who is It, Oceania, and Triumph of a Heart are all stand outs but the whole record is so innovative and interesting.

Another old friend. Finally got to see her tour with this album. This woman is a genius on another level.

I’m kind of shocked at how much I do like this, especially after being a bit underwhelmed by Debut a few weeks ago. Medúlla is by turns strange, beautiful, powerful and incredibly, incredibly human and that humanity is very affecting. Björk has said that the reason for wanting to produce a mostly a capella album was as a spiritual link to the very origins of music, and by god she hits that breif perfectly. It’s a truly timeless listening experience, something that sounds like it could have come out at any point in the entire history of humanity

This was such a fascinating listen. It seems to be almost entirely vocals making up this album. I occasionally heard some very softly played piano, but otherwise the vocals were the main focus. I’m even fairly sure that the percussion was beat box (or as Rach called it, Bjëat Bjöx). The composition was as kooky as I’ve come to expect from Björk, but doesn’t get too strange, which is what I found with her latest release Homogenic. Certainly, I’m finding these earlier albums to be more pleasing to my ears than the newer (although I’m aware that a lot of her fans disagree).

one of my favorite bjork albums, really grew on me with each listen, it's such a pleasant experience. really no words for this. ICON.

I feel like when I listen to this album it puts me in a trance. Bjorks singing is just so weird I can’t help to hyper focus on it and it’s awesome how instrumentals are either alcapella or non existent. With all the shit I listen to I’m happy when I can find an album that’s this distinct from the rest

Had this in my ears as I went outside to enjoy the 2024 eclipse, specifically Desired Constellation, and wow. I couldn't have picked a better soundtrack for an eclipse if I tried. This album is delightfully weird, wonderful, and utterly singular. It had been many years since I'd heard this album, and I definitely have a deeper appreciation for it after revisiting it.

This Bjork album is tremendous. The arrangements are made up of mostly vocal sounds though not quite entirely a cappella. Reminds me of the group Mycale that did a fully a cappella John Zorn record, but with an edge provided by the harsher tones of Mike Patton, Rahzel, and the Inuit throat singer Tanya Tagac. First rate mouth sounds all around. Enchanting and beautiful from the first note, this is a gem of a record.

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

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

I've never heard anything like this. Incredible.

Very unique and interesting

Pleasure Is All Mine is....wow. Its a modern exploration of a choral album? It is a cool concept, how do you make a choral album that sounds like the experience of intimacy, giving it these grunts, harmonies, beats. Like listening to an orgy in an art gallery. What to rank this? I think by my own scale it has to be a 5 but its a fundamentally a different experience than just throwing on an album for fun.

Took me a while to get into when it first came out, but it's a great record

Ovo mi je jedan od najdražih albuma nultih

love

This album would absolutely send your head to the moon if you were stoned

Some incredible production but the odd song not for me

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.

Very interesting and, in the right mood and circumstances, beautifully haunting and pretty engaging overall. Highly original and frequently quite strange.

Started out really hate-listening to this, but by the end I was glad it was on the list. Finally, something really different that I would never have heard otherwise! I haven't had an album like that in a while. An album focusing only on vocals (and electronics), it wasn't my favourite but I like that someone tried it. Hearing beat boxers and throat singers on the album were both highlights for me. The problem is I don't like Bjork's voice or style. She's a warbler and I am not. Still giving this 4 stars for the worthwhile experience. Where is the Line is where I draw the line though. That song annoyed me a lot haha.

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.

Love this a lot Shows how you don’t just need to be skilled with instruments to make great music Favourite tracks: Pleasure is All Mine, Vokuro, Who is It, Submarine, Oceania

On paper this album shouldn’t be as good as it is, but it comes together so well

Todella kaunis levy! 4/5