BJORK
Medulla (Elektra)
Reviewed by Sherman Wick

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A friend at work initiated the conversation: he said, "The new Bjork record is horrible, I can't listen to it - it's all vocals and no instruments." Wow, I thought maybe he had heard a different record than I. Its instrumentation, true enough, is almost entirely vocals, but varies from occasional stark minimalism to vast layers of dense sound from the Icelandic Choir, the London Choir, to Tuvan throat singing and the vocals of Robert Wyatt. But as he described the record, I came to realize that we had both heard the same record, but had polar interpretations and reactions. And to what do I attribute this difference of opinion: aesthetics. So if this type of confounding standard musical arrangements is too weird for your personal aesthetics, then this is probably not your record; but if you're interested in the voice as an instrument, or unusual musical instrumentation and composition, give Medulla a listen.

Bjork has always tinkered with her music. And despite having occasional minor mainstream success, has utilized modern technology and avant-garde theory in her music. So for this record, she opted to rid herself of much of the dense programming used on previous works. Instead, large choirs fill the void where layered samples - which sound remarkably similar - were used on previous recordings. For example, on "Mouth's Cradle," minimal bass, beats, synthesizer and programming play behind the huge sound of the Icelandic Choir.

Several tracks stand out on the record. The opening song,"Pleasure Is All Mine," features Bjork's funereal vocals accompanied by Mike Patton (Faith No More, Mr. Bungle) and once again the Icelandic Choir. "Where is the Line" is a bizarre yet strangely melodic song that would fit in perfectly in a horror film, accompanied by the same group as on the opening song, played against cascading ascending and descending vocal washes and sampled beats. And if this all seems to strange for your taste, there is a radio-friendly song, "Who Is It (Carry My Joy On the Left Carry My Pain On the Right)." It includes accompaniment by hip DJs Matmos on a melodic song, not unlike Bjork's previous work, even if the lyrical sentiment is a too depressing for radio play.

Bjork's latest record is a musical adventure worth a listen, especially if you're looking for a little musical challenge. But if you're like my co-worker you'll think the record sounds too strange. I'd argue it's not, if you keep an open mind. Perhaps it's a departure,but it's something that allows the Icelandic singer/composer to remain interesting and avoid musical stagnation.

© 2004 - Sherman Wick