VESPERTINE

Though I have been blown away by almost everything I've seen and heard from Miss Björk since her days with the Sugarcubes, this is my favorite album of hers. To my mind (and ears) this is the one that establishes and maintains the highest caliber of innovative creativity.

1. "Hidden Place" (5:28) is an all-time classic, one of Björk's signature tunes. Great performed live. (9/10)

2. "Cocoon" (4:28) Besides all the clicks and pops going on in the background, this song is an incredibly sensuous vocal/voice on display--breathing and all! (8/10)

3. "It's Not Up to You" (5:09) is blessed with a chorus section that just sucks you in and leaves you begging for more. Wonderful effect of harp, strings, glockenspiel, woodwinds and female choral b-vox. (9/10)

4. "Undo" (5:39) is my personal favorite from this album. Brilliant use of voice, effects and space; percussion and keys, and, later, orchestration and female chorale. (9/10)

5. "Pagan Poetry" (5:15) is another absolutely unforgettable Björk song. All instruments seem to be used percussively yet weave into a flowing tapestry like water--thanks to lead and background vocals. Such an emotional delivery from the divine Miss B. (9/10)

6. "Frosti" (1:42) is an absolutely gorgeous, mature 'music box' solo. Wow! Who'd have thunk it possible? (10/10)

7. "Aurora" (4:39) begins as if a badly scratched record is playing. Björk and the 'music box' join in before bass and programmed drums join. Beautiful harp work accompanies Miss B throughout most of the middle of the song--even getting some solo attention around the 2:25 mark. High praise for this motion-felt song. (9/10)

8. "An Echo a Stain" (4:04) is a spacey, futuristic-sounding free-flowing piece that barely ever goes anyplace, just keeps you floating in limbo, like a Stanley Kubrick film. (6/10)

9. "Sun in My Mouth" (2:40) brings back the 'music box' and computer bass--and, later, harp and orchestra--to accompany the singer on a beautiful journey through the here and now--so much sensual imagery in the lyrics! (9/10)

10. "Heirloom" (5:12) opens with an upbeat computerized drum/percussion sequence. (I'm reminded of ANNETTE PEACOCK's Sky Skating.) Synths join in before bass and Björk enter. The lighter mood is refreshing. (8/10)

11. "Harm of Will" (4:37) begins with tear-jerkingly beautiful orchestration, over which Miss B's exquisite vocalizations join. It is, however, the continuous play of the orchestra strings that keeps me glued to this song. VAUGHAN WILLIAMS would love this! (10/10)

12. "Unison" (6:47) starts rather starkly before some rather upbeat, child-ish, (I'm reminded of JACQUES BREL) instruments and melodies join the singer. Once the drum and bass beat are established--and the background choir--the song becomes quite charming. Matter of fact, on this one it is the choir work--and orchestral strings--that steal the show. Great vocal performance during the second half from Miss B. (9/10)

One of the things I love about Björk is she, her music, her voice, her lyrics, are unlike anyone else. There really aren't many artists like this. Fellow Iceland-born Sigur Rós, Argentina's Factor Burzaco and maybe Karda Estra, Magma, The Mars Volta, and Toby Driver are a few of the others that come to mind who also fit this "unlike anyone else" category. Kudos, Miss Björk. A five star masterpiece of unique and innovative music. A musical ride you better strap yourself in for. Also, worth checking out are any of Björk's concert DVDs. Breath-taking!