Björk - Vespertine
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CD Details
Artist: BjörkEdition: Music CD
Audio: English (Unknown); English (Published)
CD Release Date: 2001-08-28
Music Label: Elektra / Wea
Soundtracks:
- Hidden Place
- Cocoon
- It's Not Up To You
- Undo
- Pagan Poetry
- Frosti
- Aurora
- An Echo A Stain
- Sun In My Mouth
- Heirloom
- Harm Of Will
- Unison
Music reviews of Vespertine
Music Review: Frailty The Key on Vespertine
Rating: 5 Stars
`Vespertine' is a marvelous piece of artwork. After being absent from the music scene for several years, Bjork hushed not only her voice, but her music as well, to create an album that is beautiful and divine. After the harshness of `Homogenic', she took a different approach. Some fans were disappointed at the change. Others rejoiced and loved it. Still, it is Bjork, and you can always expect to hear something different with every new album.
Without a dance track in sight, `Vespertine' is an organized mess of choral arrangements, gentle static snapping and some of Bjork's most insightful lyrics ever. You could easily lounge around in a bathrobe all day listening to this. All the material here is lush, sensual, warm, inviting and captivating. Bjork lets the music speak for itself; drums are almost non-existent. In general, her vocals are quite impressive. I disagree with several reviewers who stated `Bjork's voice does not fit with this music.' The quality of her voice allows her to sing just about any type of music, as she has demonstrated in the past with songs like `It's Oh So Quiet' and `You've Been Flirting Again'. She has the power to carry a heavy tune but possesses the sensitivity to sing a quiet ballad.
The artistry of this album is superb. There's a significant amount of achievement to be heard here: Bjork composed all the string arrangements and oversaw the choral arrangements. There is a theme for this album, though completely opposite of the aggressive nature of `Homogenic': `Vespertine' is timid and shy, a side of Bjork not often seen. Somehow, the similar sounds heard throughout this album don't ever become bland or boring. Bjork's experience in songwriting and expression is the backbone of this album.
Hidden Place: I first heard this on her greatest hits album, and fell in love with it. It's so haunting and dreamlike! The soaring vocal arrangement is what carries this tune. Right away, with this opening number you realize that Bjork has taken a more delicate approach. This song is fragile. It feels as though if it were sped up or pushed any more, it would snap. Bjork's breathy vocals feel right at home above the rich chords. (6/5) <- this is valid for Bjork
Cocoon: Needless to say, this is a very honest and blunt song, but it's not the least bit harsh. It's almost seductive, and for good reason. In this song, Bjork describes her moments of passion and intimacy with a man. I admire her courage to sing about such a topic, and the echoing low bells are enchanting. She sings very sweetly, with a haunting tone and long vowels. It's rather odd to hear her singing in such a way, compared to her past works. Never has she been so personal about such a subject. The song is beautiful, but almost creepy. (5/5)
It's Not Up To You: The playful plucking and bells are what get my thumbs up here. It seems as though the strings and Bjork's voice are teasing one another. There're several moments of simplistic glory, and I absolutely love the short but gorgeous flute solos. As the chorus begins, Bjork's vocals become very melodic and deep. She sounds very comfortable, expressing emotions I have never heard her sing of before. The added choral voices toward the end are very charming and conclude the song well. (5/5)
Undo: I had to listen to this song about five times before I began to enjoy it. It's very soft (even more so than the previous track) and very delicate. It sounds very much like `Cocoon' with added vocals. Thank goodness the topic is about taking life as it comes at you, and rolling with it. The chords (very reminiscent of `Unravel') are simple but luscious. As the song progresses, it subtly builds from quiet to very vibrant with choral voices and emotional strings. The descending notes make you feel as though you're falling and settling back into a comfort zone. (5/5)
Pagan Poetry: One of the best songs of Bjork's career, this song really is spellbinding. It's one of the few songs on `Vespertine' with any percussion and deep bass sounds. The music box and harp in this song are to be commended! The haunting backing vocals linger on in your head even when they aren't heard audibly. Bjork's emotion is very raw, very real and touching. Her pain is obvious, and I love the portion at the end where she sings high with so much strength behind her voice she sounds as if she herself is going to break. Listening to this song in the dark, you feel haunted. There're so many elements of this song that are near perfection, I couldn't possibly list them all. (6/5)
Frosti: An instrumental track, it makes you think of ballet dancers, Christmas lights, candy, snowflakes and anything else sparkly and pretty. It's a wonderful little addition to such a melodic album, and although it breaks the momentum started by `Pagan Poetry', it is a fantastic opener for the next track. (5/5)
Aurora: After the bells of `Frosti' begin to fade, a light sound of footprints in the snow appears. The music box bells begin once again, and light percussion ticks and a harp round out this tune. There is really nothing too spectacular about this, though it is still beautiful. The chorus is the highlight, as Bjork soars vocally over the arpeggios of the music. I always think of standing on a mountaintop looking up at the stars when I hear this. It's very magical in a way. (4/5)
An Echo, A Stain: The most haunting song of hers, I found this to be extremely entertaining. It's as if you're hanging on for dear life to this one part of you and you can't move. It's very hard to describe the emotions that Bjork brings out of you. The same notes are sustained from the beginning of this piece to the end, and occasionally string tremolos and vocal crescendos tease the listener. The harp scales and percussion ticks are carefully placed to create a piece that is magical and lovely. There's a lot of sadness here. (5/5)
Sun In My Mouth: There aren't many lyrics in this, so Bjork sings them extremely slow and melodic. Again, the music box makes an appearance, with its tender chords and playfulness. Toward the middle of this song, Bjork's vocals are impressive. This is more like an intermission track, as it's quite short and ends on a sudden note. It's enchanting, but not long enough to make a big impression. (4/5)
Heirloom: The meaning of this song is still up in the air. No matter how many times I listen to it, I can't figure it out. The good thing is, the tone of this song is somewhat more upbeat and structured than the last few tracks. It's still mysterious and full of lush chords. I would probably enjoy this song more if I knew what it was about. However, the music is relaxing and the bass is almost jazzy; I can't really describe it. (4/5)
Harm of Will: Obviously, this was written about someone. Regardless of who it is, this song is lovely. Touching and sensitive, it's very poetic and artistic. Some of Bjork's best vocal moments are here, as she sings higher and softer than ever before. Again, delicacy is the key ingredient. With varying tempos throughout this track, Bjork is free to express herself vocally however she wishes. (5/5)
Unison: I truly believe this should have been on Bjork's greatest hits album. At first, it starts out slow (even slower than some of the other tracks here). But as the plucking strings and soft electronic sounds sneak in, you find yourself drowning in Bjork's little world. She combines all the best elements of the album (strings, choral vocals, harp, music box) and creates a very memorable piece. The chorus is absolutely spectacular, and begs to be turned up. Bjork's fragile yet strong vocals compliment the longing of the strings beautifully. I'm always inspired to think about the good things in life when I hear this. Though it's a song about a relationship, I hear a general optimism in it; don't fight, just unite. This is the perfect closing number for `Vespertine'. (6/5)
Bjork does such a wonderful job of showing sensitivity and frailty (and taking you on her emotional journey with her), I felt almost wiped out after the album ended. But it was satisfaction I felt, and not disappointment. This album is unlike any other Bjork album before it! However, it's definitely not for the impatient listener. You have to be in a sedated mood to listen to `Vespertine'; if you aren't, try `Homogenic' or `Post'. All diehard Bjork fans need this album, as no collection is complete without it.
I find it interesting that an album so quiet and sensitive can be so optimistic. Except for `Pagan Poetry' and possibly `An Echo, A Stain', every single song on `Vespertine' is hopeful, and sweet enough to play for children (except Cocoon, of course). This is an album you can relax to; an album that allows you to let your creative mind flourish. You could draw or paint with it playing. It's an inspiration, and should be praised.
Description of Vespertine
White, stickered jewel box. Note: Small flaw on outside edge of disc will cause the last track to 'skip'. SM.Ever since Björk's vital, effusive 1993 debut, her music has been increasingly intimate, gently private, and concerned with seclusion. It's typical then that Vespertine's first single is called "Hidden Place." The studious solitude is rewarding, though. Vespertine is a lush, gorgeous swell of midpace electronica, symphonic strings, and Björk's uniquely alien, spectral vocals. There are fantastical wonders here. "Cocoon" (another eulogy to withdrawal from the world) is delicate as a breath, Björk sounding too fragile to be flesh as she lauds "a beauty this immense." "Pagan Poetry" and "Aurora," likewise, are adrift in an enchanted reverie. When she chooses, she crafts killer tunes; "It's Not up to You" is as lovely as anything on Post. Yet, frequently, on such tracks as the yearning, glancing "Undo," Björk seems to be simply thinking aloud, reveling in this wildly rich and visceral music. She's reclaimed cutting-edge electronica, so often the province of geeks and technicians, for the poets and the passionate. Vespertine is a landmark, a revelation, and a truly fabulous achievement. --Ian Gittins
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