Bjork’s ‘Vespertine’ review: a triumphant display of poetic intimacy.

The principles of creativity, innovation, and poetry never ceases to evolve and renew itself in the case of the musical prowess of Icelandic singer Bjork, as shown in her fourth album titled ‘Vespertine’, released on the 27th of August 2001.

Known for her theatrically and avant-garde live performances, the “Venus As a Boy” singer has repeatedly outdone herself in musical creativity, shown in her continuous meddling through various electronic instruments, notably through her critically acclaimed albums of ‘Debut’, ‘Post’ and ‘Homogenic.’ However, unlike the latter’s outwardly maximalist take in electronic music, ‘Vespertine’ rests itself on a more private and personal compartment, a “cocoon” (no pun intended) as one might say. For the most part, it is an accurate depiction of what goes on behind closed doors, a bond between her and her significant other, something that the public shouldn’t interfere. In the midst of the listening process, it is possible that one could find himself in amazement, elation and ease, as he wanders through this erotic masterpiece.

Coinciding with her initial work on the album, she was multi-tasking with the making of the film titled ‘Dancer in the Dark’, along with its soundtrack album, ‘Selmasongs.’ Back then, the album was almost titled “Domestica”, but rejected it because “it was too much.” Describing her previous album, ‘Homogenic’, as one with an “extroverted” nature, and has always associated itself with Bjork’s public image, she describes the fourth album as “a side of me that can’t be captured by going out and being sociable.”

The Icelandic artist is responsible for the 80% of the album’s writing and production. Its lyrical content mainly focuses on the themes of love, sex and intimacy. Oftentimes, this is commonly credited to her then-newfound relationship with American artist, Matthew Barney. Production-wise, its sensual and silent character is also made known through the abundant use of light and minimal sounds through micro-beats, harps, celesta, clavichords and musical boxes.

On the other hand, the songs also heavily utilized the use of string instruments and choral arrangements, creating a blooming and euphoric atmosphere. Aside from herself, the whole outcome of the album would not be revealed if it weren’t for the collaborations with San Francisco musical duo Matmos, Opiate, Console and harpist Seena Parkins.

In an album of 12 songs, the first single, “Hidden Place”, also serves as the opening track of the album. Sung by Bjork in a soft and delicate manner, as she describes her dive into emotional depths, the veneration she offers to her partner as she sings the words: “He's the beautifulest / Fragilest still strong / Dark and divine / And the littleness of his movements.” Accompanied by a light percussion, it gradually swells into a crescendo at its chorus by string instruments and choral arrangements, presenting a state of climax and dramatic euphoria.

These conditions would eventually persist mostly throughout the duration of the album, providing a silent atmosphere set on a scene obscured from public view. The swells in its instrumentals accurately depict an internal expression, reserved between her and her spouse as they explore each other’s anatomy and pleasures. It’s the kind of privacy that allows her to know her partner too well, “He makes his face known to none”, as she recites on ‘Harm of Will.’ Poetic and closeted, in its lyrical content and instrumentation.

Speaking of poetry, Bjork also presents a delicately sung rendition of E.E. Cumming’s poem titled, “Crepuscule.” In her case, it is titled “Sun In My Mouth”, in which alludes to self-stimulation. The song is accompanied by a light harp and clavichord, with blooming swells of string instruments.

Bjork mostly sings either soft or completely in falsetto throughout, her voice resonates as if she is living the moment of the bond she has committed. In other cases, she records the moments she breathes, creating a raw and unfiltered impression of her intimacies. Moreover, she rarely sings in a louder tone, only when she is accompanied by the choir and strings.

In her metaphorical descriptions of sensuality does she vividly creates an image of her encounter. On the other hand, every beat and chime resembles one’s interior joy, also creating a sound of friction as they glide and stroke gently against each other’s physical proportions. The song “Cocoon” proves this description enough, in the lyrics of “A train of pearls / Cabin by cabin / Is shot precisely / Across an ocean”, while singing at a high falsetto.

If one could rank every album that Bjork has made throughout her career, it is no doubt that ‘Vespertine’ is a top-tier. While Bjork was able to provide a glimpse of her ‘intimate side’, it is a body of work that does not just explicitly expresses itself. Rather, there remains an element of shyness, found in its union of her lyrics and instruments, which she does experimentally well in capturing those moments under her musical directorship.

In almost 23 years after its release, ‘Vespertine’ remains an epitome of poetic sensuality. An excellent and cohesive body of work, it continues to be greatly favored by longtime fans, and will certainly catch the attention of the younger ones, curious enough to seek how Bjork remains as the innovative and acclaimed composer that she have always been.