Without equivocation, I will always list Björk's Vespertine as my favorite album of hers. While her latest Utopia does not unseat Vespertine, there are moments on it that come close to that intensely personal masterpiece. "Tabula Rasa" is akin to the wild, unleashed vocals of "Unison," with a touch more restraint, but with undeniable power and beauty.
Braids' debut album Native Speaker was not one of my favorite records of 2011, I will admit. All the elements were there, but for some reason it never really came together as a whole for me. Mainly, singer Raphaelle Standell-Preston's voice tended to fly off out of control, never bringing me into the music, always holding me back from truly connecting me with their sound. Of course, with second record Flourish/Perish, I was not holding out hope that there would be any specific alteration of their aesthetic for me to change my opinion. Somehow my expectations of the record, low as they were, were completely shocked by such a controlled and skilled almost masterpiece of a record. Raphaelle Standell-Preston, whose voice is actually quite lovely, keeps her voice almost firmly in check this go around, which draws you in instead of smacking you across the face with her vocal flights of fancy. And this record, aside from one track, eschews guitars and focuses exclusively on keyboards and electronics, forging a record that appears to almost be a merger of Radiohead's glitchy masterpiece Kid A and Bjork's quiet electronic hymnal Vespertine.
There is hardly a weak track on this record, with the majority of tracks creating an atmosphere that revels in both dense layers of sounds as well in telling silences. A lonely, haunted air permeates the whole experience as if this music found buried in a locker at the end of the world, the final soundtrack to a life dying out. From the majestic swirls and drones of keyboards and Standell-Preston's multi-tracked voice trying to emerge from the darkness on "Amends;"
the gorgeous vocal turn from Standall-Preston on "Juniper" which floats atop a skittering drum pattern, analog keyboard drones, and what sounds like a Maori tribe sample; to the gentle electronic lullaby of "Ebben," Braids' finds intricate ways to beguile and transfix.
And it is not to say the whole record is gloomy and/or in a hushed tone throughout. There are moments of transcendent joy, as on opener "Victoria" where goofy, Animal Collective-esque keyboards bounce around Standall-Preston's loopy vocals,
a mercurial beat propels the lilting "December,"
or closer "In Kind" which rises from a bed of rising synths and guitar patterns into a vocal tour de force from Standall-Preston, who almost verges on going overboard as on their debut, but somehow is able to reign in her most indulgent tendencies.
Some fans may be turned off by Braids' move to a more electronic sound but, for me, it appears to be a more logical step for them. Standall-Preston's voice seems to work better across all the dense electronics instead of the guitar interplay of the debut record. Flourish/Perish is a step in the right direction for the band, challenging them and their listeners with a different sound; one that I think works perfectly for them.
Rating Scale:
Chilfos: masterpiece; coolest thing I've heard in ages.
Woof Daddy: excellent; just a hair away from being a masterpiece.
Grrrr: very good; will definitely be considered for my top releases of the year.
Yeah Daddy Make Me Want It: good; definitely invites further listens and piques one's interest for more material.
Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.
Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.
Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.
Braids' second album Flourish//Perish has an abundance of riches on it, to the point where it is almost impossible for me to say one track is my favorite. Each track on the record works with the others to create a harmonious whole, and my preference for a song can change with the time of day, change of weather, or flicker of mood. "Amends" ultimately, for me, stands out, as it encompasses the feeling I have for the record most succinctly. I liken the record to Bjork (in her Vespertine days) taking the backing tracks from Radiohead's Kid-A and coming up with her own unique masterpiece. This is a quiet, contemplative song that builds over the course of its 6 minutes into a breathtaking glitched out synth masterpiece.
Bjork Biophilia
Rating: Yeah Daddy Make Me Want It
bi·o·phil·i·a: (n.) An appreciation of life and the living world.
Bjork's latest album is a collaboration with Apple, providing iPad apps for each of the album's 10 tracks. As I don't own an iPad, I can only react to the music as is. Whether or not the apps provide better illumination is not really my concern, as I am sure Bjork wants the music to stand on its own. So I am going under the assumption that the apps only enhance the songs rather than make it essential to get the songs' full impact. Biophilia is not likely, at this point, to change any one's opinion of Bjork, it's a Bjork album, pure and simple, drawing more from her Vespertine and Medulla periods. Mostly hushed and quiet, laying a foundation for Bjork's war cry vocals, the tracks are generally beatless, choosing to use unique instrumentation such as her combination gamelon and celeste, giving the record an Asian feel to it. And true to the name of the album, Biophilia is awash with nature imagery, drawing comparison between love and natural processes. While this could have down turned into a laughable new age screed, Bjork wisely keeps things, mostly, in check, and draws interesting parallels and connections.
Biophilia works best when Bjork pushes the envelope on the music. The fascinating "Thunderbolt" begins with plaintive organ drones, combining choir backing vocals along with blasts of analog synths and muted beats. The lyrics comparing love's spark with a lightning strike.
First single "Crystalline" merges gamelan with shuffling beats, until it all descends into a frenzied drill n bass coda.
Perhaps the loveliest song is the gorgeous "Virus," which could easily fit snugly on Vespertine, with its pitter-patter beats and music box instrumentation. Love again is compared to a virus attacking a cell, the host unable to withstand the battle.
"Mutual Core," a track produced by 16 Bit, is another droning organ opener that adds burbling electronics, exploding with Bjork's siren vocals and a dense, industrial clatter of programmed beats.
"Sacrifice" follows a similar theme, opening with hymn like gamelan, then releasing Bjork's furiously strident vocal over buzzing percussion.
Unfortunately, the middle of the album hits a snag with a trio of songs that suck all the momentum out of the record. "Cosmonogy" continues Bjork's obsession with horns and strings and angelic choirs, that tips over the line into schmaltzy Disney territory. "Dark Matter" is a droning, almost atonal piece, that is akin to the backing soundtrack for Dark Shadows. While "Hollow" even takes it to the next level, working in a circus Calliope motif throughout the track, which just grates on one's nerves.
Biophilia has some amazing tracks on it, and I appreciate how Bjork tries to always take risks with her music. Unfortunately, there is a bit of stagnancy with the album, as it draws too many comparisons with other periods of her music. But, being Bjork, she is only doing what she wants, and those that want to follow can, or choose not to. Bjork has a special place in my heart, so I will always follow her, but I am still waiting for her next classic album. Neither Medulla, Volta, and now Biophilia are anywhere near the apex of Vespertine, Post, and Homogenic. I guess I am just going to have to wait a little while longer.
Rating Guide
Chilfos: masterpiece; coolest thing I've heard in ages.
Woof Daddy: excellent; just a hair away from being a masterpiece.
Grrrr: very good; will definitely be considered for my top releases of the year.
Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.
Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.
Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.
Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.
