VESPERTINE

Of all of Bjork's musical output so far I rank the collection of songs on VESPERTINE are amongst her very best. "Magical" seems like a cliched description to attach on music like this, but for VESPERTINE it is as appropriate a word than any other musical experience I can think of. The percussive elements are as fragile as snowflakes and many of the songs are backed by choirs that augment the beautiful melodies Bjork has written for this record, adding an angelic levity to many key tracks. In comparison with her other works VESPERTINE is quite restrained, but it is far from dull.

In description it seems unlikely that a vocalist of Bjork's emotional range and singing technique could fit comfortably in this environment, and yet she does so quite seamlessly, with little restraint on her part. When she does channel her vocals inward, as on the gentle "Harm of Will", or the charming "Cocoon" (where her giddy declaration of a schoolgirl's crush barely rises above a breathy whisper), the results are as memorable as the extroverted "Pagan Poetry" and "It's Not Up To You".

This latest packaging of VESPERTINE (Surrounded) is offered in "Dual Disc" format. One side is the original CD without any bonus material, and the other is a DVD side with the same music in 'surround" mix plus the promotional videos for this record. (I can't comment on the value of these new "surround" mixes, as I don't have the stereo set-up to experience it yet). Because the disc contains playable material on both sides there is only room for a small white circle on the disc's hub for which side is up.

The visuals of the promoted singles on the DVD section are all very imaginative and has a collective theme of the organic, or specifically, the human body. In "Hidden Place" bodily fluids continuously caress the surface of Bjork's face. The abstracted images of body piercing found in "Pagan Poetry" makes for perhaps her most provocative video yet. Similarly strange is "Cocoon" where Bjork dances with red ribbon sprouting from her own body. She plays a pixie-sized tour guide through the deep woods for "It's In Our Hands". In "Nature is Ancient", on which she doesn't appear on-screen, witnesses copulation and gestation among creatures of a microscopic level.

To have the videos packaged together with the music is a special treat, yet there were missed opportunities to truly make this an ultimate fan's treasure. For one, a revamped booklet with additional promo photos would have been ideal, as the booklet is the same as the original release (if I remember correctly, from a friend's copy). Another unfortunate omission was not including as extra tracks the songs that were thinly distributed as b-sides among the various VESPERTINE singles. Still, if you're considering adding VESPERTINE to your collection then this is the version you will want to get.

It seems incredibly now, but at the time of VESPERTINE's release, the same critics who pronounced HOMOGENIC a masterpiece uniformly found VESPERTINE a disappointment. In truth, while HOMOGENIC was on the cutting-edge of electronic music at the time, VESPERTINE did not depart from the earlier sound, and many critics, who had witnessed Bjork's constant reinventions and leaps of development, felt disappointed that she didn't keep up with the pace of IDM's developments. But so what? She had found herself and was at the peak of her artistry, and this album is clearly riding that crest.

Her patented amazing singles are here, like Pagan Poetry, Hidden Place and Cocoon. But the non-singles are just as rewarding, such as It's Not Up to You and Undo. Both this album and HOMOGENIC are an amazing one-two punch, the very top of Bjork's achievements, and in many ways the end of an era. While her subsequent albums grew even more experimental, the magic of her first 4 albums (5 if you count the great soundtrack DANCER IN THE DARK, released in between HOMOGENIC and VESPERTINE) was over.

How are her first four albums not 5 stars?

This album suprised me, but it also made me a little annoyed as well.

This is one of those albums that falls into the catergory, amazing start, weak ending.

I really meant it, the first 6 songs I was like, "holy crap, this redefining music," then after that I was like, "ok, maybe not so much."

The first 6 songs were so amazing, It had this amazing sound, almost like an ambient orchestra, just flowing like glaciers the whole way through. Bjork really tried to out-Bjork herself, and do what most Icelandic people do...make beautiful music.

You can tell that Bjork really cared for these 6 songs, and the production work is amazing.

The last 6 songs aren't too bad, and could be seen more as "art" pieces, but theys still don't match the first 6, cause they in themselves are "art".

1. Hidden Place - My first ever Bjork song. The video was very creepy. The production is breathtaking. Beautifully arranged. 10/10

2. Cocoon - Beautiful vocal performance. Lovely arrangement and very lo fi. 10/10

3. It's Not Up To You - Beautiful chorus. Great arrangement. Very pretty. 10/10

4. Undo - Very relaxing and cathartic. Very soothing. The build up throughout is epic. 10/10

5. Pagan Poetry - Again, great build up. Simplistic and very arty. 10/10

6. Frosti - A great music box interlude. 9/10

7. Aurora - Nice and flows really well. Almost like a X-mas carol. 9/10

8. An Echo, A Stain - Interesting arrangement. Some nice eerie moments. 8/10

9. Sun In My Mouth - Beautifully arranged. The orchestra parts are amazing. 8/10

10. Heirloom - For some odd reason I can relate to these lyrics...I don't know why I just do. 8/10

11. Harm Of Will - Quite dramatic and eeriely beautiful. 8/10

12. Unison - A nice wee ending. Nice and calm. 9/10

CONCLUSION: The first half, a spectacle of music, second half, not so much. The second half is ok, it's just nothing compared to the first half. The first half is worth the price alone.

Yes, well again this marked the trio of albums that places Bjork in a prog category. Expanding from Homogenic into a more strings, mood based singularity of sounds, Vespertine was adventurous to say the least. Not as emphatic musically as it's predecessor but certainly a catalyst for the exceptional follow up Medulla.

As another reviewer suggests this is almost an album of two qualitative halves. The first half being exceptional and borderline masterpiece, the second half loses direction at times and is less convincing, quite bemusing to this reviewer that the consistency of the album does not hold up so well. " Hidden Place" kicks off the album and it is mysterious, sensual and plain beautiful. An accompanying video will add wonderment to the experience. " Cocoon" and " Pagan Poetry" also mark highlights to the album and became firm fan favorites on selection of a future compilation release for Bjork.

The second half of the album is OK and the new trademark sound continues, it just seems to be missing that inviting " Hook" one gets to expect with Bjork material. " Sun In My Mouth" has Bjork streching the boundaries again as does the interesting " Harm Of Will". I like this album a lot and it is a worthy three and a half stars but it is not quite up there with Medulla or Homogenic. Both those albums broke new territory, this was the wafer in between.

The sound of falling snow, icicles, and the real Bjork

On her previous album Homogenic, Bjork was trying way too hard and it showed. Despite a few very strong individual tracks that album was a noisy, unappealing disaster. This innately private and shy person was also having difficulty in the spotlight of fame, having tired of the bustle of England, and letting negativity flow into her work, her relationships, and her interaction with unfortunate reporters. She had retreated to Iceland to write this new album and was looking for simplicity, less noise, and a more honest reflection of herself. Originally to be titled "Domestica", Vespertine sought to be the real Bjork in her natural state. Her true state. She had recently discovered how to compose music on her new laptop, and she literally wrote this album walking on beaches, lounging beneath the moonlight of Iceland's night, disappearing into the scenery of volcanoes and glaciers. The results were stunning and miles above Homogenic. In my view Vespertine is her most rewarding work and of the five Bjork albums I own, it's the only one I truly enjoy all the way through. I could not sum it up any better than this quote:

"Where Homogenic had often been harsh and abrasive, Vespertine was warm and yielding. Intimate, introverted, and reveling in sonic possibility, this was the sensual musical exploration of self that Bjork had been longing to make...." -Ian Gittins, author of "Bjork - There's more to life than this"

The Winter album? While it's true that this album was intimate and warm in its relationship to the listener, the most incredible thing to me is the absolute creation of an original sound that can only be described as Winter. With the sounds, mood, and arrangements Bjork creates the sound of snow falling, icicles glittering, the visible breath exhalations of freezing temperatures. The album is draped in this sound, the result of composition and some formidable new weapons. She spent weeks working with a harpist named Zeena Parkins. She brilliantly painted the songs with choir vocals giving them a soft contrast to her typically bold and distinct personality. Sometimes she harmonizes with the choir, sometimes they are completely doing their own thing, but the effect is beyond beautiful in both cases. And most notable perhaps, she sent the songs to the experimental sound duo Matmos and asked them to color the songs with their ideas. Last, while the beats, electronica, and strings all returned, she noticeably softened everything up, including her own voice. Everything about Vespertine is more nuanced, subtle, and beautiful. The songwriting sounds less arbitrary and much more focused, she sounds like she believes in this material more than anything she has done before.

The songs are much more consistent and cohesive than previous efforts. The album flows very well and feels like a complete art experience. In "Cocoon" she brings us directly into her bed and shares details of her lovemaking with a vocal that stands among the most intimate you'll ever hear. The highlight for me is the short instrumental "Frosti" which serves as a prelude to the shimmering beauty "Aurora." The sounds of a glass music box slowly playing sparkling sounds that bring snow to your mind. Then in "Aurora" Matmos supplies sound "crackles" while Bjork croons to the skies in an ode to the northern lights. "Sun in My Mouth" is another favorite, pure musical opiate, soft voice, harp, and celeste. Other tracks have these delicate choral arrangements backing her vocal, in unison with the orchestral arrangements, to heavenly effect. At times she'll let these moments stretch out into trance-like sections that almost recall Sigur Ros in their meditative quality. She really tones down her usual feisty vocals in place of vocals that are serene, the effect is both relaxing and completely enchanting. Lyrically she pursues a similar vibe talking about the happier aspects of love, communing with nature, and the stabilizing force of home and domestic bliss. Some complain this album fades in the stretch like Homogenic, but I don't agree. The later tracks pack great reward even if they reveal themselves more slowly than some of the very immediate tracks.

When this album came out I procured a perfect condition large print of the beautiful album cover art. I had it framed and it hangs proudly on my living room wall next to the framed print of "Hounds of Love." But that's not the reason Vespertine is my second highest rated Bjork release. I love this album because if finally unites the talent and "strangeness" of Bjork with music that consistently speaks to the heart. It's an album that breathes, gives the music space, and places the mutual enjoyment of sound above being cool or edgy. It's humble, yet highly creative.

"Electronic folk music", said BJORK about 'Vespertine'. My understanding of folk music was that it wasn't a specific sound, but a method of preserving communal truths. On 'Vespertine' we can hear more of what it means to be human than in virtually any other place.

It's that, yes, but so much more than that. 'Vespertine' contains the essence of BJORK's gift to the world: finally, with sweet, ethereal music and that naive yet knowing voice she carves us up with beauty. Naive, for she sounds like a child; knowing, for she pens lyrics arresting in their frankness. In 'Cocoon' she sings, without any apology: He slides inside / half awake, half asleep / we faint back / into sleephood / when I wake up / the second time / in his arms / gorgeousness / he's still inside me... This is love, not pornography, a baring of her soul. How fortunate we are that there are some among us who can say things like this, can express the joys and the longings of being human, and make the result so compelling.

This fragile message is delivered with delicacy, BJORK employing harps, celestes, strings, clavichords and angelic choirs as her messengers. Gone are the overpowering glitch beats of '5 Years' from her previous album. Instead we get a succession of heavenly moments when the clouds of mundane humanity peel back and rays of pure bliss pour through like supernatural invaders. I point to the beauty of 'Hidden Place' with its Schoenbergian ascending melody in the chorus drenching us like a blessing; of 'Cocoon' and the unbearable sweetness of her breath-laden voice (to have someone sing like that of anyone else, with such intimacy, how can we not be moved?); of the choir in 'Aurora', the unbearable ache of estranged lovers in 'Unison' as the music and lyrics climax together... the simplicity, the beauty. There isn't a track here that does anything less than shine.

Aside from the beauty and humanity, I'm drawn back to this music because of its complete freedom from the cynicism engendered by the music industry. At this stage of their careers bands like PINK FLOYD had nothing left to write about but anger against their fans and the insides of hotel rooms, but BJORK has a keen eye and is never, ever afraid to tell us what she sees. God forbid - and I mean this - god forbid she was ever to meet me. I don't know if I could bear the scrutiny.

Many of the musicians on the pages of PA are journeymen, doomed by their narrow training and lack of imagination or honesty to repeat the sounds of their past. BJORK is an innovator, an experimenter, an artist, always reaching for more; and I for one am glad she is here, whether she sounds proggy or not.

This is one of those special albums where adjectives I use to describe it aren't exactly the norm concerning descriptions of music. To relay an example...Vespertine glistens. I mean this album glows, shimmers and radiates a cold white light. Another thing this level of quality brings out is the occasional bizarre adjective that doesn't even make sense. In this case, for some reason the term "icy warmth" keeps popping up as to how I would convey the emotions and atmosphere that Vespertine engulfs the listener so successfully. I know..."icy warmth'? But yeah...there it is. Listening to some of these tracks is like roaming through immense ice castles guided by a mischievous cute pixie. This is the sort of journey I can dig.

Vespertine begins with a flat out jaw-dropper with the majestic Hidden Place. A swirling array of choirs, strings, some odd percussion and chilly keyboards combine with Bjork's distinct and emotionally bare voice gently latched on to my mind and sent me to the clouds over Iceland. The chorus is absolutely magnificent, soaring to the stratosphere yet equally intimate. I've never heard a better song by her. Already it's quite clear this album is progressive.

Cocoon follows, a much gentler affair with excellent fragile vocals emitting pure sensuality with a bit of coyness. It's Not Up to You brings back the lushness, especially for that great chorus (nice hook!). In fact, throughout this album, there's a definite theme not just in its message, but concerning the musical instruments themselves. Harps, ethereal choirs, and orchestration add such an incredible layer of beauty to the cold electronics, and, combined with Bjork's emotional delivery, gave off this aura that I still consider "icy warmth". This aura never leaves for the album's duration, with no dud to be found ruining the flow.

Other highlights include the epic concluding Unison, possessing one of Bjork's most creative vocal deliveries and one fantastic crescendo towards the song (and album's) finale, and the gorgeous yet haunting and borderline dark An Echo, A Stain. Even the short instrumental Frosti is essential.

This album is seamless and has a singular vision that is magical, spacey, chilly, atmospheric and without a doubt extremely progressive. Essential.

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!

Verspertine is definitely one of Björk's more private and intimate releases. The album is generally concerned with seclusion and as some other reviewers stated, there are plenty of crafty arrangements that play a part in creating dark, mysterious moods, including sampled objects to create beats and soundscapes from shuffling cards on the haunting "Hidden Place" and the dreamy "Cocoon". There is even a snow crumpling effect on "Aurora" and cracking ice on "Frosti" to help create a chilling wintery feel. A couple of highlights are "It's Not Up To You" and the beautiful, lush "Pagan Poetry". Admitedly, she loses her way a little on "An Echo A Stain" and "Sun In My Mouth" but gets back on track with "Heirloom" and "Unison" on the second half of the album. In all, this along with "Homogenic", contains some of my most favourite pieces by this artist. Three and a half stars.

"Vespertine"'s album cover features Bjork hiding her face and the swan is superimposed to remind us of THAT dress. Her pixie image has never been more indelible as she shies away from convention totally to produce some of the more unsettling compositions, reflecting a disturbing moment in her career after shaking off stalkers, reporters and the media. The lyrics have always been on the edge but here she dwells on the mournful side of life, the hopelessness of unrequited love, the thoughts of escape, decisions to move on, and the blissful ignorance of betrayal. Bjork sounds cynical but intimate and reflective, and bravely moves into many styles of singing, from sustained cries to breathy whispers. It is a cold, wintery album with dripping icicles, footsteps in the snow, chilling wind chimes, cold breath on a frosty window, and icy lyrics. I rank this as among her best to this point in her career. It begins with some of her best compositions but tends to fade towards the end.

She launches wonderfully into 'Hidden Place' which is quite a dramatic Bjork composition, with very nice synth motifs and a haunting melody. It sounds more like a radio oriented single than a lot of the material on this quirky album. The album houses some of Bjork's most daring and weird music. The odd electronic percussion sounds and breathy voice on 'Cocoon' is perhaps the new direction for Bjork who is gearing towards her weirdest era ever, that will be realised on the downright bizarre "Medulla" in 2004.

The unsettling squelchy percussion continues on 'It's Not Up To You', and minimalist chimes. It is quite effective and Bjork sounds very melancholy and deranged in an endearing way.

The struggles of coping are reflected in 'Undo', with overlayed vocals and dark music orchestration. She sings with pain, "I am praying to be in a generous mood, kindness kind, to share, it's not meant to be a struggle up here." An interesting and intense song with angelic ending as if she has found peace; it almost feels like the voice of Selma from "Dancer in the Dark". Perhaps the film had some impact as her inspiration here.

'Pagan Poetry' is a very popular song, heard in live sets often, and it is easy to see why as it is definitive Bjork. The chiming harp music is beautiful, balanced by the deep bass synths and Bjork's measured rhythmic vocals. She sings coldly of dark secrets, "five fingers form a pattern yet to be matched on the surface implicity, from the darkest pit in me." I like the way Bjork sings with so much passion here and never holds back on snarling out hatred, and then her voice is mixed to the front and sounds raw and wracked in pain, "I love him I love him I love him I love him." A haunting highlight of "Vespertine".

'Frosti' has more sparkling chimes than usual, sounding like wind chimes and I guess like snowflakes dropping out of the winter sky. Bjork likes to convey childlike innocence with the use of musical boxes, clavichords and harps on her albums but she really immerses her music in the chimes on this album. It is a nice sound after all the dark nuances and Bjork's vocals are absent, though it would have been nice to hear something to add to the sound.

This merges seamlessly into 'Aurora' with Bjork's voice and an effect that may represent walking in the snow. Her voice is beautiful as she reaches the angelic high register with vocal intonations. The lyrics focus on the twilight of day, the aurora that sparkles and shoots beyond the surface, when the sun hits the cold air and causes the ripples of colour, reflecting her state of mind, the ray in the dark in the midst of turmoil.

'An Echo A Stain' has an atmospheric sound like a deranged swampy nightscape, weird frog and cricket sounds and an eerie wind howl. It is very effective to convey loneliness and alienation. Bjork sings huskily and quietly, "feel my breath on your neck, on your heart, don't say no to me, I won't see you tonight, I'm sorry you saw that." The music is quite ominous and the vocals are given a weird reverberation at times like an echo, but this is a dark song with sonic weirdness that Bjork will capitalise on with subsequent albums.

The chimes continue to dominate on 'Sun In My Mouth' and the poetry is quite beautiful. The orchestral arrangement works nicely giving a cinematic feel and Bjork's vocal range is stretched to the highest register and she sounds beautiful in these moments. After this 'Heirloom' has a strong percussion and string pads to house Bjork's vocals. She sings of memories, of things her mother baked for her, "while I'm asleep my mother comes and pours warm glowing oil into my wide open throat, everytime I feel a hoarseness I swallow warm glowing light, you make me feel so much better". Quite a nice song really with some odd sections of electronica.

'Harm of Will' is a quiet Bjork song with strings, chimes and no percussion. Bjork's overlayed breathing is soothing as is her gentle singing. Cetainly this breathy effect will be used on her next studio album, particularly on 'Pleasure Is All Mine'. The content of the song sounds rather disturbing about a secret sexual encounter, with consent as it appears, "he placed her unclothed, on top of the family tree, And if he has chosen the point while she is under him, Then leave her coily placed crouched sucking him, for it is I with her on knee." The "family tree" has phallic connotations, and may represent the act of placing an angel at the top of a Christmas tree. The song goes on to say that "he controls what there'll be, he makes his face known to none" to discard what had been done, the secret unrevealed to protect his reputation after the deed. Some research reveals that the song is actually about Will Oldham, a lover of Harmony Korine who wrote the lyrics. The album closes with 'Unison', with an upbeat rhythm that has more hope than other songs here, but not one of my favourites.

"Vespertine" is a very melancholy and icy cold winter album, and it is apparent that Bjork is shedding her skin of any radio friendliness to embrace a very cold stark approach with darker atmospheres and weirdness. She dwells on dark emotions, sadness and the futility of abuse. This breaking down of musical barriers will alienate some fans and of course draw in others. "Medulla" will further cause division as Bjork embarks on her most daring provocative album ever (hear 'Where Is The Line', 'Who Is It', 'Ancestors', 'Mouth's Cradle', 'Midvikudags' and 'Submarine' to experience the most bizarre Bjork). In any case, "Vespertine" is a great album to chill out to with Icelandic scapes of winter's chill. 3 and a half stars due to the great opening tracks.

Programmed music, intriguing voice and respectable originality.

I do not know much about Björk´s universe, their eccentricities and their origins. And until recently I found unattractive dive into her discography. Some songs of this artist are considered within the Alternative Dance or Trip-Hop, but not here. And to recommend this very good album in a specialized rock page, I must warn those who read this description: It´s too electronic and can generate rejection in the first instance.

In my case to hear Vespertine at firsts times, it was not easy to get used to sound and style. Songs are not too catchy and not get tired. The voice is singular, the offer is genuine and successful atmosphere is devastating. There is variety and complexity to acceptable levels, beyond pop music and contains ambient too.

'Vespertine' is Bjork's 5th official studio album, and definitely demonstrates her foray into progressive and art rock. The songs on this album center mostly on love and eroticism and the lyrics can be quite graphic at times. The music is produced by instruments that would not be compromised by the download process as that was an issue at the time where the quality of a lot of music was diminished when downloaded electronically. Most of the percussive sounds on this album are produces by household objects. Best of all, the composition of the songs is anything but standard. That is where I admire Bjork the most is in her attempt to push boundaries of popular music, which she does without fear. She also experiments around the use of minimalism and micro beats.

'Hidden Place' starts off the track list with what would be the lead single from the album. Right away you get the electronic loop of a digital beat along with her soft vocals and harmonics. Some nice orchestral sounding loops create an older European atmosphere. You will also notice the lyrics are about a relationship between two people that are not yet confident about their feelings. 'Cocoon' dives deeper into the minimalism sound with the clicking percussion created with a synthesizer which sounds similar to vinyl clicking noises when a needle plays a record. The lyrics are erotic and sensuous and the feeling of the soft vocals reflect that.

'It's Not Up to You' has the same minimal feeling during the voices, but has a nice, well orchestrated chorus that utilizes a processed choir and has a more intense feel. 'Undo' utilizes harp and strings to create atmosphere and does a nice job of creating dynamics to help push the non-traditional melody along. 'Pagan Poetry' is a beautiful track which uses both a harp and a music box to create the background, but a regular bass is used also to help create a foundation. This was the 2nd single released, but it didn't receive a lot of airplay because of the sensuality of the lyrics. 'Frosti' is a short instrumental interlude created by a music box.

'Aurora' recreates an incident where Bjork was running across a glacier and fell. She injured herself and put snow in her mouth to ease the pain. Of course, this is innuendo to a sexual encounter. There is a beautiful choral arrangement in this one, with more harp and music box arrangements. 'An Echo, A Stain' enters a more experimental territory as it is much more minimal. The lyrics are based around a one-act play called 'Crave' written by Sarah Kane. The foundation is mostly driven by strings, a minimal beat and a lush choir. 'Sun in My Mouth' has lyrics based around a poem by E.E. Cummings called 'I Will Wade Out'. Bjork uses her vocal range quite effectively in this one.

'Heirloom' uses the beat of what sounds like an old Wurlitzer organ along with processed beats. Despite what many people might think, this is actually about familial love and how they take care of a person when they are sick. The track remains more minimal as do most of the songs on the 2nd half of the album, which, strangely enough, ends up creating a much stronger impression especially considering the subject matter. I find it more effective as far as the sensuous and romantic aspects go.

'Harm of Will' is about a romantic relationship between a troubadour and a libertine. It is the first collaboration between Bjork and Harmony Korine who would later become a regular collaborator with her. The last track is 'Union' which slowly climbs out of the minimalist feel of the last several tracks with a more traditionally composed song, but even so, it is far from traditional pop. There is a nice synthesizer hook that appears in the 2nd verse. This is a very beautiful and effective ending for this sensuous and lush album.

As much as one might think this is a boring album, it is not. In fact, it gets more beautiful and meaningful the more you hear it. It is original and does a great job of demonstrating Bjork's experimental and art-sy side. It is definitely original and progressive in every aspect. Even the more traditional tracks are still pushing the boundaries of popular music. This album definitely defies a real genre other than maybe minimalism at its most dynamic.

I was lying there, surrounded by lush strings and a voice most passionate. I was enveloped in the intimacy of classical instruments, wrapped in dense, warm beats. I could practically touch the music; so tangible was its atmosphere. It signaled an evolution; one step beyond the baroque trip-hop of Homogenic, two steps away from the alternative dance and pop of Post, three steps into the thick aura of a warm symphonic embrace, in harmony with droning bass and minimalist rhythms.

I was lying there, taking in scenes of electronic erotica. I was hypnotized by the seamless synthesis of lavish production and a distinctly human touch, yet the complex craftsmanship remained. In the icy synths of 'Aurora,' in the sweeping angelic choirs lifting 'Harm of Will,' in the shrouding comfort the basslines of 'Cocoon' and 'Undo' give; in the interpersonal lyrics delivered with sighs and relief.

I was lying there, relaxed and reflective. I was listening to a distinct vision coming together, one hinted at since the dawn of a promising career, since the dawn of an eclectic personality. I was hearing more self-assurance and positivity within the trippy soundscapes and ample musical terrain, the turmoil and rage of Homogenic appearing to be a distant memory.

I was lying there, soothed and in control. I was observing some inventive background noise, such as card shuffles in 'Cocoon' or the music box melodies of 'Frosti;' or the various harp arrangements seeping through the central core of sweeping cinematic instrumentation. Still, it all remained personal, still distinctly Bjork.

I was lying there, knowing what I was hearing but still not believing, still blown back in awe, years after the first listen. I was still lying there, pulled into this fusion of subtlety and grandiosity; it was a masterpiece of atmosphere, of electronica, of pop, of music, of art.

This is a beautifully intimate record. Björk found a way to depart from her success sound and embrace her unique aspects even more. Highlights of the album are the minimalistic nature and the suppressed but complicated though logically sounding beats

Hidden Place is a great atmospheric opener with subdued beath and stunning orchestration 10/10

Cocoon is an absolute masterpiece of minimalism and intimacy. 10/10

It's not up to you is another great song with all the strengths of the album showcased 10/10

Undo is also great, especially the female choir and strings 10/10

Pagan Poetry is another highlight, especially the "I love him" repeat near the end. So emotional. 10/10

Frosti is icy and unique. Another home run 10/10

Aurora has extraordinary beats and a great harp. 10/10

An echo a stain has awesome electronic beats and a great atmosphere too. It may be my love for acts like Autechre that I appreciate these beats so much. I am amazed by how Björk combines this with strings and other musical arrangements 10/10

Sun in my mouth is the next home run. This album is so strong, so cohesive and so beautiful 10/10

Heirloom is the most straightforward track of the album so far. As straightforward as it gets with Vespertine. 9/10

Harm of Will is again extremely intimate and harmonious. 10/10

Unison is an absolute banger of a closer for the album. 10/10

This album is a tour de force of a unique artist. There's only one rating fitting for this one. 5 stars.