When it was announced last year that Bjork's next project would be an album of nothing but vocals with no sort of instrumentation to accompany them whatsoever, I thought that she'd finally lost her marbles (or what few she had left). But here it is, Medulla, and it couldn't possibly be any more fascinating. Except for a few synth parts laid down Bjork herself, and some sparse programming sprinkled about by Matmos and Mark Bell, everything here is completely organic. Just how organic is shown immediately on the opener "Pleasure Is All Mine." Headphones are immediately filled with an Icelandic choir, throat singer Tagaq making his downright frightening gasps for air, former Roots beatbox man Rahzel providing the beats, and Mr. Bungle/Fantomas/Tomahawk frontman Mike Patton providing other atmospherics to give this the most earthy feel humanly possible. Not to mention that in the midst of all this, Bjork puts forth an incredible vocal performance that's out in front like a siren.
Other noteworthy moments here are the duet between her and Robert Wyatt on the celestial "Submarine," and the 2004 Athens Olympic theme "Oceania" which in retrospect, makes something like say, New Order's "World In Motion" (written for the World Cup over ten years ago) seem quite tepid and insignificant now. "Sonnets/Unrealities XI" may be the most elegant love song Bjork has ever recorded, while "Triumph Of A Heart" with its human trombone may be up there with some of her most captivating work.
To say Medulla is the most challenging album in Bjork's repertoire so far would naturally be the understatement of the year. Medulla wouldn't be my first choice of her albums I would personally want to go back and listen to for an uplifting fun time, but as far as artistic statements go, this is quite 'possibly maybe' the strongest work of her career so far.
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