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Björk ‘Vulnicura’ – Album Review

One Little Indian (2015)

Originally scheduled to coincide with her exhibition at the Museum of Modern Art in March, the release of Björk’s ninth studio effort, Vulnicura, was brought forward by two months after the Icelandic star fell victim to the dreaded online leak.

Considering the follow-up to 2011’s multimedia project Biophilia is a self-described “complete heartbreak album” inspired by the breakdown of her relationship with artist Matthew Barney, such behind-the-scenes turbulence seems rather fitting.

Indeed, eschewing the global concerns that have dominated her recent work, Vulnicura is instead one of the 49-year-old’s most raw, direct and personal records to date, addressing themes of denial, grief, anger and despair over nine shape-shifting soundscapes co-produced with Venezuelan beatmaker Arca (Kanye West, FKA Twigs) and British doom merchant The Haxan Cloak.

Björk’s confessional approach can often make for an uncomfortable listen, particularly on the more abrasive second half where fractured rhythms collide with discordant horror movie strings (“Family”) and cathartic cries battle are heard over jabbing synths and galloping percussion (“Notget”) or warped strings and space-age bleeps (“Mouth Mantra”).

Those still valiantly hoping for a return to the more accessible and melodic fare of Björk’s mid-90s commercial peak therefore will once again be largely disappointed, but there are still a handful of times when she throws a nod to the less challenging parts of her back catalogue.

Opener “Stonemilker” is a gorgeous emotionally-charged blend of dramatic orchestration and spacious beats which hark back to the neo-classical leanings of arguably Björk’s finest moment, Homogenic. “Lionsong” opens with the same kind of a cappella melodies that defined Medulla, and when you get past the first nightmarish four minutes of “Atom Dance,” you’re rewarded with a beautiful skittering electro-ballad featuring the mesmerising tones of Volta regular Antony Hegarty.

Björk’s Vulnicura might not possess the multimedia aspects of its predecessor, but with its soul-baring lyrics and rich dramatic production, it’s arguably just as an immersive experience.

3.5 / 5 stars     

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About the Author


Jon O'Brien's love of music began as a six-year-old after becoming bizarrely transfixed with the 80s poodle rock of Heart, Europe and Def Leppard. Switching his attention to pop icon Michael Jackson, he then became addicted to the UK Top 40, becoming a rather pointless walking Wikipedia of chart positions in the process. Driving his poor neighbors up the wall while learning to play the drums as a teen, he toyed with the idea of becoming a musician, but in studying Journalism at the University of Central Lancashire, he realized heÕd rather write about music than perform it. Since then, he's written thousands of reviews and biographies on everything from bubblegum pop to death metal, but electronica remains his main passion, with everything from Aphex Twin to Zero 7 in his spare room-consuming record collection. Jon resides in northwest England near Liverpool.

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