Bjork has a history of tapping different producers for each of her albums. For Debut it was Nellee Hooper of Bristol's Wild Bunch crew, while Mark Bell of LFO heavily influenced the sound of Homogenic. For Vespertine she turned away from the big beats and thumping techno of Homogenic and employed the San Francisco based duo of Matmos, who's microsampling created the rhythmic backing of much of the album. The album is noted for its use of chamber orchestras, choirs, hushed vocals, and personal, vulnerable themes. Along with Matmos, Bjork worked with Denmark based electronic musician Thomas Knak (aka Opiate), and the experimental harpist Zeena Parkins, and used an Inuit choir on the tour to support the album. It's been said that her new relationship with artist Matthew Barney and the tension while filming Dancer in the Dark were the two major forces that shaped what would become Vespertine. The result was an intensely personal album that also turned out to be Bjork's quickest selling to date. Working on Dancer in the Dark had required her to be extremely extroverted and, as a way to escape, she made music that was hushed and tranquil. Give a listen to tracks like "Heirloom," "Undo," "Unison," and "Cocoon" for an idea of the variety of the sounds and themes. Recommended.
- 180 gram pressing
- music label: One Little Indian 2001 / 2013
reviewed by Michu Meszaros 09/2014
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