VESPERTINE

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.