Review Summary: Björk's most subtle album is one of her best yet.
By the time the new millenium struck in 2000, Björk was doing very well for herself. With the commerically and critically successful
Homogenic under her belt and the musical score for
Dancer in the Dark on the way, you'd be hard pressed to find someone who hadn't heard of this Icelandic musical oddity. Her only problem now was, well, "how do you follow it up?" The answer - in Björk's mind, at least - was to do the exact opposite as she'd done already. Enter
Vespertine, Björk's follow-up album based on her new found relationship with artist Matthew Barney.
Unlike
Homogenic,
Vespertine features much quieter, more subdued tracks, in an attempt to create a much more "intimate" sound. Though Björk used similar electronic sounds and string arrangements,
Vespertine strove to achieve a more minimalist sound, highlighting the album's themes of affection and sexuality. The lyrics of
Vespertine are romanticised and, at times, sexually suggestive, symbolising Björk's feelings towards her new relationship.
Nowhere is this more evident than on "Cocoon", one of the album's leading singles. The instrumentation is bare, with only simple electronic melodies, minimalist electronic beats and the sound of Björk quietly shuffling cards. Björk sings in a wispy, quiety voice throughout, juxtaposing innocent lyrics about her love ("Who would approach/a girl like me?") with more sexualised lyrics about intercourse ("The second time in his arms/gorgeousness, he's still inside me"). The real highlight of the track is Björk's voice. Whereas in the past, Björk would use her voice to it's full extent, here, the power is virtually gone, with Björk wanting to capitalise on the feeling of intimacy.
This mood is followed up by other stellar tracks on the album. Take "Frosti", an instrumental piece played by a music box, which also conveys Björk's sense of wonder, her sense of fascination with her lover. It seems simple, though in fact, it's the exact opposite, as is the rest of
Vespertine, with every detail being planned and played exactly to Björk's specification. From the shuffling of cards on "Cocoon" to the gentle crunch of the snow on "Aurora", Björk uses every opportunity to add something to the tracks' complexity.
The album's standout track, "Pagan Poetry", arguably goes against much of the album's minimalist nature. With Björk's voice being loud and powerful, the track uses lush harp arrangements and Björk's backing vocals being used throughout, until near the end, when everything drops out, leaving Björk to repeat "I love him" to herself over and over again. While most tracks on the album have a sense of subtlty, "Pagan Poetry" is an emotional track with beautifully complex melodies and Björk's voice being used to its' absolute fullest. It's captivating, heart-breaking, and downright incredible to listen to.
I'd consider each of Björk's albums artworks in their own right. But compared to the big and bold
Homogenic,
Vesperting is a delicate painting of great finesse, with every brush stroke being considered to the finest detail. Though it's perhaps not Björk's most ground-breaking or ambitious album,
Vespertine is both unique and beautiful in its' own right, with the smallest of details making the largest difference.
Recommended Tracks
Cocoon
Undo
Pagan Poetry
