Björk | ||
| Allmusic Biography : A visionary artist who effortlessly blends avant-garde and pop elements, Björk soon eclipsed the popularity of her former group the Sugarcubes when she launched her solo career after the groups demise in 1992. Instead of continuing the bands arty guitar rock pretensions, she immersed herself in dance and club culture, working with many of the biggest names in the genre, including Nellee Hooper, Underworld, and Tricky. Debut, her first solo effort (except for an Icelandic-only smash released when she was just 11 years old), not only established her new artistic direction, but it became an international hit, making her one of the most unlikely stars of the 90s. In the the decades that followed, she remained at the forefront of musical innovation with albums like 2004s vocal-based Medúlla and 2011s science-themed Biophilia. Though the title of Debut implied that it was Björks first-ever solo project, she had actually been a professional vocalist since she was a child. When she was in elementary school in Reykjavik, she studied classical piano and, eventually, her teachers submitted a tape of her singing Tina Charles "I Love to Love" to Icelands Radio One. After "I Love to Love" was aired, a record label called Falkkin offered Björk a record contract. At the age of 11, her eponymous first album was released; the record contained covers of several pop songs, including the Beatles "Fool on the Hill," and boasted artwork from her mother and guitar work from her stepfather. Björk became a hit within Iceland and was not released in any other country. Björks musical tastes were changed by the punk revolution of the late 70s; in 1979, she formed a post-punk group called Exodus and, in the following year, she sang in Jam 80. In 1981, Björk and Exodus bassist Jakob Magnusson formed Tappi Tikarrass, which released an EP, Bitid Fast I Vitid, on Spor later that year; it was followed by the full-length Miranda in 1983. Following Tappi Tikarrass, she formed the goth-tinged post-punk group KUKL with Einar Orn Benediktsson. KUKL released two albums, The Eye (1984) and Holidays in Europe (1986), on Crass Records before the band metamorphosed into the Sugarcubes in the summer of 1986. The Sugarcubes became one of the rare Icelandic bands to break out of their native country when their debut album, Lifes Too Good, became a British and American hit in 1988. For the next four years, the group maintained a successful cult following in the U.K. and the U.S. while they were stars within Iceland. During 1990, Björk recorded a set of jazz standards and originals with an Icelandic bebop group called Trio Gudmundar Ingolfssonar. The album, Gling-Gló, was released only in Iceland. By 1992, tensions between Björk and Einar had grown substantially, which resulted in the band splitting apart. Following the breakup of the group, Björk moved to London, where she began pursuing a dance-oriented solo career. The previous year, she had sung on 808 States "Ooops," which sparked her interest in club and house music. Björk struck up a working relationship with Nellee Hooper, a producer who had formerly worked with Soul II Soul and Massive Attack. The first result of their partnership was "Human Behaviour," which was released in June of 1993. "Human Behaviour" became a Top 40 hit in the U.K., setting the stage for the surprising number three debut of the full-length album, Debut. Throughout 1993, Björk had hit U.K. singles -- including "Venus as a Boy," "Big Time Sensuality," and the non-LP "Play Dead," a collaboration with David Arnold taken from the film Young Americans -- as well as modern rock radio hits in the U.S., and in both countries she earned rave reviews. At the end of the year, NME magazine named Debut the album of the year, while she won International Female Solo Artist and Newcomer at the BRIT Awards; Debut went gold in the U.S. and platinum in the U.K. During 1994, Björk was relatively quiet as she recorded her second album with Nellee Hooper, Tricky, 808 States Graham Massey, and Howie B of Mo Wax Records; she also released a remix EP, co-wrote Madonnas "Bedtime Stories," and performed on MTV Unplugged that same year. "Army of Me," the first single from Björks forthcoming album, was released as a teaser single in the spring of 1995; it debuted at number ten in the U.K. and became a moderate alternative rock hit in the U.S. Post, her second album, was released in June of 1995 to positive reviews; it peaked at number two in the U.K. and number 32 in the U.S. Post matched its predecessor in terms of sales and praise, going gold in the U.S. and helping her earn her second BRIT Award for Best International Female Artist. Post yielded the British hit singles "Isobel" (number 23), "Its Oh So Quiet" (number four), and "Hyperballad" (number eight), yet her singles failed to make much headway on American radio or MTV. Late in 1996, Björk released Telegram, an album comprising radical remixes of the entire Post album, in the U.K.; Telegram was released in America in January 1997. Homogenic, her most experimental studio effort to date, followed later that same year and spawned many remix releases in the next few years to follow. In the spring of 2000, she was named Best Actress by jurors at the Cannes Film Festival for her work in Lars Von Triers Palme dOr-winning Dancer in the Dark. Selmasongs, her score for the film, reunited Björk with her Homogenic collaborator Mark Bell and arrived in the fall of 2000, just in time for Dancer in the Darks U.S. release. The full-length follow-up, Vespertine, was released one year later. She released a Greatest Hits collection and the Family Tree box set late in 2002. After performing a few dates in 2003, Björk geared up for a busy 2004, which included the release of her all-vocals and vocal samples-based album Medúlla and a performance of one of its songs, "Oceania," at the 2004 Summer Olympics in Athens, Greece. The soundtrack to Drawing Restraint 9, a film by multimedia artist Matthew Barney, arrived in 2005 and also featured contributions from Will Oldham. Released in 2007, Volta returned to the more playful, percussive side of Björks music and included collaborations with Timbaland, Toumani Diabaté, Antony Hegarty, and an all-female Icelandic choir. Her tour supporting the album was a lavish affair, as chronicled in the 2009 set Voltaic, which was released in sets ranging from a CD/DVD to limited multi-disc and vinyl editions. While she was touring the world in support of Volta, Björk began work on her most ambitious project to date: Biophilia, an interactive exploration of humanitys relationships to sound and the universe that would also educate listeners/viewers about music theory and science. Initially envisioned as a musical house, then an IMAX film directed by Michel Gondry, Biophilia -- which took shape with the help of engineers, scientists, and video game designers -- was eventually released as a suite of apps for the iPad and iPhone. The album, which was also released on CD, arrived in October 2011. Bastards, a collection of Biophilia remixes, was released in Europe in late 2012 and in the U.S. in early 2013. Around that time, Björk launched a Kickstarter campaign to fund translating the Biophilia app for Android and Windows 8 platforms. Though the campaign was canceled after ten days, the app was translated to Android in July 2013. That month, she also appeared in When Björk Met Attenborough, a BBC Channel 4 documentary with Sir David Attenborough and scientist Oliver Sacks that related Biophilia to humanitys relationship with music. In 2014, Björk contributed vocals to Death Grips album Niggas on the Moon. She also continued the Biophilia project with a live concert film, Biophilia Live. Filmed at Londons Alexandra Palace and featuring spectacular visuals, it was released theatrically and in DVD and Blu-ray sets that also included the live audio on CD. Late that year, it was announced that producers Arca and the Haxan Cloak collaborated on her upcoming album. Vulnicura, which traced the aftermath of Björks relationship with Matthew Barney and harked back to the sounds of Vespertine and Homogenic, arrived in January 2015 after it was leaked ahead of its scheduled March release date. An acoustic version of the album, Vulnicura Strings, arrived at the end of 2015 and featured the viola organista, a keyboard-driven string instrument designed by Leonardo da Vinci. That year, Vulnicura Live, which featured Björks favorite performances of the albums songs as well as some chosen from her other albums, was given a limited release; wider distribution followed in 2016. The following year, Björk once again teamed up with Arca for a follow-up to Vulnicura. The lighter but still complex Utopia, which featured Icelandic and Venezuelan birdsong, an all-female flute section, and lyrics inspired by science fiction and folklore, arrived in late 2017. | ||
 | Album: 1 of 16 Title: Björk Released: 1977-12 Tracks: 10 Duration: 31:49 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia AlbumCover | 1 Arabadrengurinn (05:26) 2 Búkolla (03:30) 3 Alta Mira (02:40) 4 Jóhannes Kjarval (02:33) 5 Fúsi hreindýr (03:44) 6 Himnaför (02:41) 7 Óliver (02:52) 8 Álfur út úr hól (03:16) 9 Músastiginn (02:55) 10 Bænin (02:12) |
 | Album: 2 of 16 Title: Gling‐Gló Released: 1990-10 Tracks: 16 Duration: 51:07 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Gling Gló (02:42) 2 Luktar‐Gvendur (04:03) 3 Kata rokkar (02:58) 4 Pabbi minn (02:42) 5 Brestir og brak (03:21) 6 Ástartöfrar (02:46) 7 Bella símamær (02:40) 8 Litli tónlistarmaðurinn (03:25) 9 Það sést ekki sætari mey (04:03) 10 Bílavísur (02:40) 11 Tondeleyo (03:33) 12 Ég veit ei hvað skal segja (03:05) 13 Í dansi með þér (02:28) 14 Börnin við Tjörnina (02:50) 15 Ruby Baby (04:06) 16 I Can’t Help Loving That Man (03:40) |
| Gling‐Gló : Allmusic album Review : Björks elastic, somersaulting voice is right at home delivering these traditional Icelandic and jazz tunes. Happy songs performed by Björk with the Icelandic jazz group Gudmundar Ingólfssonar Trio really showcase her voice and reveal how her unique singing style shares some common ground with scatting. The trio consists of pianist Gudmundar Ingólfsson (who, contrary to popular rumor, is not Björks father), Gudmundur Steingrímsson on drums, and Thórdur Högnason on bass. Björk performed with this trio a few times before they recorded Gling Glo, and everyone mustve had a good time, because the album captures the group moving through a mixture of jazz numbers and Icelandic songs with a free and easy feel. When Gling Glo was first released in 1990 on the Smekkleysa (Bad Taste) label, it went platinum, becoming the labels best seller. The first 14 songs are from this original issue, while the last two tracks (and the only songs sung in English -- "Ruby Baby" and "I Cant Help Loving That Man") are drawn from a rehearsal recording made a year prior to the album. | ||
 | Album: 3 of 16 Title: Debut Released: 1993-07-12 Tracks: 13 Duration: 54:21 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Human Behaviour (04:12) 2 Crying (04:52) 3 Venus as a Boy (04:42) 4 There’s More to Life Than This (03:17) 5 Like Someone in Love (04:33) 6 Big Time Sensuality (03:56) 7 One Day (05:22) 8 Aeroplane (03:56) 9 Come to Me (04:55) 10 Violently Happy (04:59) 11 The Anchor Song (03:32) 12 Atlantic (02:04) 13 Play Dead (03:57) |
| Debut : Allmusic album Review : Freed from the Sugarcubes confines, Björk takes her voice and creativity to new heights on Debut, her first work after the groups breakup. With producer Nellee Hoopers help, she moves in an elegantly playful, dance-inspired direction, crafting highly individual, emotional electronic pop songs like the shivery, idealistic "One Day" and the bittersweet "Violently Happy." Despite the albums swift stylistic shifts, each of Debuts tracks are distinctively Björk. "Human Behaviour"s dramatic percussion provides a perfect showcase for her wide-ranging voice; "Aeroplane" casts her as a yearning lover against a lush, exotica-inspired backdrop; and the spare, poignant "Anchor Song" uses just her voice and a brass section to capture the loneliness of the sea. Though Debut is just as arty as anything she recorded with the Sugarcubes, the albums club-oriented tracks provide an exciting contrast to the rest of the albums delicate atmosphere. Björks playful energy ignites the dance-pop-like "Big Time Sensuality" and turns the genre on its head with "Theres More to Life Than This." Recorded live at the Milk Bar Toilets, it captures the dancefloors sweaty, claustrophobic groove, but her impish voice gives it an almost alien feel. But the albums romantic moments may be its most striking; "Venus as a Boy" fairly swoons with twinkly vibes and lush strings, and Björks vocals and lyrics -- "His wicked sense of humor/Suggests exciting sex" -- are sweet and just the slightest bit naughty. With harpist Corky Hale, she completely reinvents "Like Someone in Love," making it one of her own ballads. Possibly her prettiest work, Björks horizons expanded on her other releases, but the album still sounds fresh, which is even more impressive considering electronic musics whiplash-speed innovations. Debut not only announced Björks remarkable talent; it suggested she had even more to offer. | ||
 | Album: 4 of 16 Title: Post Released: 1995-06-09 Tracks: 11 Duration: 46:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Army of Me (03:54) 2 Hyper‐Ballad (05:21) 3 The Modern Things (04:10) 4 It’s Oh So Quiet (03:38) 5 Enjoy (03:57) 6 You’ve Been Flirting Again (02:29) 7 Isobel (05:47) 8 Possibly Maybe (05:06) 9 I Miss You (04:03) 10 Cover Me (02:06) 11 Headphones (05:40) |
| Post : Allmusic album Review : After Debuts success, the pressure was on Björk to surpass that albums creative, tantalizing electronic pop. She more than delivered with 1995s Post; from the menacing, industrial-tinged opener, "Army of Me," its clear that this album is not simply Debut redux. The songs production and arrangements -- especially those of the epic, modern fairy tale "Isobel" -- all aim for, and accomplish, more. Post also features Debut producer Nellee Hooper, 808 States Graham Massey, Howie B, and Tricky, who help Björk incorporate a spectrum of electronic and orchestral styles into songs like "Hyperballad," which sounds like a love song penned by Aphex Twin. Meanwhile, the bristling beats on the volatile, sensual "Enjoy" and the fragile, weightless ballad "Possibly Maybe" nod to trip-hop without being overwhelmed by it. As on Debut, Björk finds new ways of expressing timeworn emotions like love, lust, and yearning in abstractly precise lyrics like "Since you went away/Im wearing lipstick again/I suck my tongue in remembrance of you," from "Possibly Maybe." But Posts emotional peaks and valleys are more extreme than Debuts. "I Miss You"s exuberance is so animated, it makes perfect sense that Ren & Stimpys John Kricfalusi directed the songs video. Likewise, "Its Oh So Quiet" -- which eventually led to Björks award-winning turn as Selma in Dancer in the Dark -- is so cartoonishly vibrant, it could have been arranged by Warner Bros. musical director Carl Stalling. Yet Björk sounds equally comfortable with an understated string section on "Youve Been Flirting Again." "Headphones" ends the album on an experimental, hypnotic note, layering Björks vocals over and over till they circle each other atop a bubbling, minimal beat. The work of a constantly changing artist, Post proves that as Björk moves toward more ambitious, complex music, she always surpasses herself. | ||
 | Album: 5 of 16 Title: Homogenic Released: 1997-09-22 Tracks: 11 Duration: 49:35 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Hunter (04:15) 2 Jóga (05:05) 3 Unravel (03:21) 4 Bachelorette (05:12) 5 All Neon Like (05:53) 6 5 Years (04:29) 7 Immature (03:06) 8 Alarm Call (04:19) 9 Pluto (03:19) 10 All Is Full of Love (04:33) 1 So Broken (05:59) |
| Homogenic : Allmusic album Review : By the late 90s, Björks playful, unique world view and singular voice became as confining as they were defining. With its surprising starkness and darkness, 1997s Homogenic shatters her "Icelandic pixie" image. Possibly inspired by her failed relationship with drumnbass kingpin Goldie, Björk sheds her more precious aspects, displaying more emotional depth than even her best previous work indicated. Her collaborators -- LFOs Mark Bell, Mark "Spike" Stent, and Post contributor Howie B -- help make this album not only her emotionally bravest work, but her most sonically adventurous as well. A seamless fusion of chilly strings (courtesy of the Icelandic String Octet), stuttering, abstract beats, and unique touches like accordion and glass harmonica, Homogenic alternates between dark, uncompromising songs such as the icy opener, "Hunter," and more soothing fare like the gently percolating "All Neon Like." The noisy, four-on-the-floor catharsis of "Pluto" and the raw vocals and abstract beats of "5 Years" and "Immature" reveal surprising amounts of anger, pain, and strength in the face of heartache. "I dare you to take me on," Björk challenges her lover in "5 Years," and wonders on "Immature," "How could I be so immature/To think he would replace/The missing elements in me?" "Bachelorette," a sweeping, brooding cousin to Posts "Isobel," is possibly Homogenics saddest, most beautiful moment, giving filmic grandeur to a stormy relationship. Björk lets a little hope shine through on "Jòga," a moving song dedicated to her homeland and her best friend, and the reassuring finale, "All Is Full of Love." "Alarm Call"s uplifting dance-pop seems out of place with the rest of the album, but as its title implies, Homogenic is her most holistic work. While it might not represent every side of Björks music, Homogenic displays some of her most impressive heights. | ||
 | Album: 6 of 16 Title: Vespertine Released: 2001-08-18 Tracks: 12 Duration: 55:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Hidden Place (05:29) 2 Cocoon (04:28) 3 It’s Not Up to You (05:08) 4 Undo (05:38) 5 Pagan Poetry (05:14) 6 Frosti (01:41) 7 Aurora (04:39) 8 An Echo, a Stain (04:04) 9 Sun in My Mouth (02:40) 10 Heirloom (05:12) 11 Harm of Will (04:36) 12 Unison (06:47) |
| Vespertine : Allmusic album Review : After cathartic statements like Homogenic, the role of Selma in Dancer in the Dark, and the films somber companion piece, Selmasongs, its not surprising that Björks first album in four years is less emotionally wrenching. But Vespertine isnt so much a departure from her previous work as a culmination of the musical distance shes traveled; within songs like the subtly sensual "Hidden Place" and "Undo" are traces of Debut and Posts gentle loveliness, as well as Homogenic and Selmasongs reflective, searching moments. Described by Björk as "about being on your own in your house with your laptop and whispering for a year and just writing a very peaceful song that tiptoes," Vespertines vocals seldom rise above a whisper, the rhythms mimic heartbeats and breathing, and a pristine, music-box delicacy unites the album into a deceptively fragile, hypnotic whole. Even relatively immediate, accessible songs such as "Its Not Up to You," "Pagan Poetry," and "Unison" share a spacious serenity with the albums quietest moments. Indeed, the most intimate songs are among the most varied, from the seductively alien "Cocoon" to the dark, obsessive "An Echo, A Stain" to the fairy tale-like instrumental "Frosti." The beauty of Vespertines subtlety may be lost on Björk fans demanding another leap like the one she made between Post and Homogenic, but like the rest of the album, its innovations are intimate and intricate. Collaborators like Matmos -- who, along with their own A Chance to Cut Is a Chance to Cure, appear on two of 2001s best works -- contribute appropriately restrained beats crafted from shuffled cards, cracking ice, and the snap-crackle-pop of Rice Krispies; harpist Zeena Parkins melodic and rhythmic playing adds to the postmodernly angelic air. An album singing the praises of peace and quiet, Vespertine isnt merely lovely; it proves that in Björks hands, intimacy can be just as compelling as louder emotions. | ||
 | Album: 7 of 16 Title: Greatest Hits Released: 2002-11-04 Tracks: 15 Duration: 1:12:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 All Is Full of Love (04:47) 2 Hyper‐Ballad (05:21) 3 Human Behaviour (04:12) 4 Jóga (05:05) 5 Bachelorette (05:12) 6 Army of Me (03:54) 7 Pagan Poetry (05:14) 8 Big Time Sensuality (The Fluke Minimix) (04:56) 9 Venus as a Boy (04:42) 10 Hunter (04:15) 11 Hidden Place (05:29) 12 Isobel (05:47) 13 Possibly Maybe (05:06) 14 Play Dead (03:57) 15 It’s in Our Hands (04:15) |
| Greatest Hits : Allmusic album Review : Björk closed out her first decade as a solo artist with the retrospective Björks Greatest Hits. Despite its somewhat pedestrian title and approach (especially considering some of her intricate import collections and box sets) she still managed to find a way to put a twist on the collection: she let her fans vote for which songs they wanted included on the track listing. Overall, they did a pretty good job; with the notable exception of "Its Oh So Quiet" -- which is probably her biggest single -- the collection touches on most of the biggest songs from each of her albums. The album puts most of its focus on the middle portion of her career to date, culling four tracks each from Post and Homogenic, but still makes room for old favorites such as Debuts "Venus as a Boy" and "Human Behaviour," as well as newer singles such as Vespertines "Pagan Poetry" and "Hidden Place." One minor disappointment is the lack of any songs from her excellent Dancer in the Dark soundtrack, though the greatest-hits disc that appears in the Family Tree box set, which Björk herself compiled, includes that albums "Scatterheart" and "Ive Seen It All" (as well as other great album tracks from her career, such as "Unravel" and "Youve Been Flirting Again"). However, the inclusion of the somewhat hard-to-find "Play Dead" -- which appeared on the Young Americans soundtrack and was previously available most easily on a Japanese single -- and a new track, the lovely "Its in Our Hands," help compensate for the omissions about which fans could potentially complain. Arguably, since Björk isnt really an artist who lives and dies by the charts, virtually any of her songs could be considered fair game for inclusion on a collection like this; her body of work is so consistently strong that her album tracks are almost always as interesting (if not more so) as the songs that are deemed to be singles. And indeed, Björks Greatest Hits does fulfill one of the main goals of a greatest-hits collection: it presents the many different sides of her sound, from playful to bittersweet to experimental, making it a good introduction to those unfamiliar with her music and a convenient collection for her fans. Die-hard Björk fans might want a domestically available B-sides or rarities collection instead, but Björks Greatest Hits is quite possibly the first step in that direction -- and a nice way to celebrate the beginning of another decades worth of her innovative music. | ||
 | Album: 8 of 16 Title: Family Tree Released: 2002-11-04 Tracks: 35 Duration: 2:28:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Síðasta Ég (02:58) 2 Glóra (01:43) 3 Fuglar (03:02) 4 Ammæli (03:58) 5 Mamma (02:56) 1 Immature (Björk’s version) (02:51) 2 Cover Me (03:05) 3 Generous Palmstroke (live) (04:40) 4 Jóga (strings & vocals) (04:40) 5 Mother Heroic (02:42) 1 The Modern Things (demo) (04:09) 2 Karvel (04:28) 3 I Go Humble (04:44) 4 Nature Is Ancient (03:38) 1 Unravel (03:36) 2 Cover Me (02:49) 3 Possibly Maybe (04:53) 4 The Anchor Song (03:42) 5 Hunter (04:31) 1 All Neon Like (05:05) 2 I’ve Seen It All (05:57) 3 Bachelorette (05:07) 4 Play Dead (03:27) 1 Venus as a Boy (04:42) 2 Hyper‐Ballad (05:21) 3 You’ve Been Flirting Again (02:32) 4 Isobel (05:47) 5 Jóga (05:05) 6 Unravel (03:21) 7 Bachelorette (05:12) 8 All Is Full of Love (video version) (04:46) 9 Scatterheart (06:39) 10 I’ve Seen It All (05:29) 11 Pagan Poetry (05:14) 12 It’s Not Up to You (05:10) |
| Family Tree : Allmusic album Review : Equal parts retrospective, autobiography, and objet dart, Björks Family Tree gives fans a very special glimpse at the creative processes behind her work, collecting two decades worth of her music and words in a unique, lavishly packaged set. A white paper sleeve embossed with work by Icelandic artist Gabriela Fridriksdottir holds a translucent, petal-pink plastic case containing five 3" discs of "Roots," "Beats," and "Strings"; a collection of Björks favorite songs from her albums; "Words," a booklet of selected lyrics; and an essay by Björk explaining the genesis of this set, which manages to use phrases like "taxonomic structure" and "a new Icelandic modern musical language" without sounding too ambitiously academic. Scattered throughout are Fridriksdottirs paintings, sculptures, and illustrations, which mix a playful, organic sensibility with clean lines that are both futuristic and childlike. They complement Björks work, and especially this project, perfectly, since Family Tree emphasizes her beginnings as a classically trained but rebellious young musician and her current incarnation as an artist who unites the cerebral with the emotional and the avant-garde with the accessible. Family Trees detailed packaging is notable not only for its beauty, but because its very intricacy forces the viewer/reader/listener to slow down, savor, and contemplate the sets contents instead of consuming them immediately. This sets the mood for a very personal experience, which begins with the first disc -- Björks greatest hits as chosen by the artist herself. Technically, there arent many of her "hits" on this compilation -- favorites such as "Human Behavior" are missing here, but appear on the fan-selected Björks Greatest Hits (which was released on the same day as Family Tree). Instead, Björk opts for intimate album tracks like "Unravel" and "Youve Been Flirting Again." Even the singles on the collection, such as "All Is Full of Love" and "Hyperballad," tend toward introspection despite their state-of-the-art productions. As with the rest of the set, the greatest-hits disc doesnt pretend to be a democratic representation of her work. Only one track from Debut, the enchanting "Venus As a Boy," is on the disc, while Selmasongs: Music From the Motion Picture Dancer in the Darks "Scatterheart" and "Ive Seen It All" both made the cut (and deservedly so -- the only problem with Björks Greatest Hits is that it didnt include either of these songs). Instead, Family Tree is an unrepentantly subjective look at Björks work from the past two decades, going back to some of her earliest recordings. Though "Roots" doesnt include anything from her 1977 self-titled album or her jazz effort Gling Glo, it does feature 1980s "Glora," a pretty, quirky flute melody that shows that even at 15, Björk was figuring out how to integrate her classical training into her own sensibilities. "Sidasta Eg," from 1984, is an eerie take on indie/dream pop that suggests her work with the Sugarcubes as well as her later solo efforts. Disc one of "Roots" also includes the 1983 Kükl track "Fulgar," which in its post-punk artiness also points to her Sugarcubes days. That era is well-represented by "Ammaeli," the Icelandic version of their hit "Birthday," and "Mama," both of which hold up well despite the somewhat glossy, dated-sounding production. As good as the Kükl and Sugarcubes tracks are, their inclusion only emphasizes that while Björk may work well as part of a group, her own music (even in its earliest stages) is more interesting. Disc two of "Roots" offers a look at some of her mature solo work in different forms and stages, such as the demos of "Immature" and "Joga" that are very much works in progress, but no less beautiful because of that. The disc also includes "Generous Palmstroke," a live collaboration between Björk and harpist Zeena Parkins, as well as "Mother Heroic," a track from the Vespertine sessions that, like that albums "Sun in My Mouth," combines a delicate celeste melody with lyrics borrowed from poet e.e. cummings. While the song isnt quite as striking as the work that did end up on that album, its still lovely, and Björk is the sort of artist whose outtakes are as worth hearing as her finished work. The single-disc "Beats" emphasizes the electronic aspects of her work and delves further into her demos, offering a surprisingly smooth, blissed-out version of "The Modern Things" co-produced and programmed by Graham Massey, her Post collaborator. He also gives 1994s "Karvel" a surprisingly straightforward dance treatment, albeit with unconventional drums -- it sounds more like an 808 State track with Björk vocals than an actual Björk song. Her work with Mark Bell and Mark "Spike" Stent sounds more like finished album tracks; "I Go Humble" mixes a syncopated beat with fuzzy keyboards, and while its a little less special than what ended up on Post, its most definitely worth hearing, as is "Nature Is Ancient," which resembles what "Big Time Sensuality" wouldve sounded like with Homogenics burbling, distorted production. The two discs of "Strings" go in the opposite direction, accenting the organic and academic side of her music by presenting highlights of her collaborations with the Brodsky Quartet. From the lush versions of "Possibly Maybe" and "Bachelorette" to the percussive take on "Cover Me" to "Hunter"s driven arrangement, its clear why Björk has worked with the quartet repeatedly -- their expressive, flexible approach to classical and classical-inspired music fits her aesthetic perfectly. And while "Words" -- the collection of lyrics from songs like "Pluto," "Cocoon," "Headphones," and "Pagan Poetry" -- may not be as immediately exciting to fans as the demos and unreleased tracks, the economy of Björks lyrics deserves to be celebrated, as its often overshadowed by the dense, dazzling beauty of her music. With a line like, "On the surface simplicity/But the darkest pit in me/Is pagan poetry" or a phrase like "emotional landscapes" she manages to communicate a wealth of feelings in an abstract, yet precise, manner. This seemingly contradictory approach extends to all of Björks work -- though shes on the cutting edge of music and is resolutely individual, shes still popular enough to spawn parodies on Saturday Night Live and Spitting Image and cause a furor over wearing a swan dress to the Oscars. Fortunately, shes also popular enough to be able to make sets like Family Tree available on a relatively mainstream scale. A mini-museum of Björks art with a depth that belies its size, Family Trees exhaustive, scholarly approach works simply because her music is worth studying in the detail that the set provides so amply. | ||
 | Album: 9 of 16 Title: Livebox Released: 2003-08-26 Tracks: 55 Duration: 4:01:01 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Human Behaviour (04:08) 2 One Day (06:09) 3 Venus as a Boy (02:32) 4 Come to Me (03:44) 5 Big Time Sensuality (05:07) 6 Aeroplane (04:03) 7 Like Someone in Love (04:01) 8 Crying (04:10) 9 Anchor Song (03:25) 10 Violently Happy (05:44) 1 Headphones (02:58) 2 Army of Me (04:04) 3 One Day (03:37) 4 The Modern Things (03:52) 5 Isobel (05:27) 6 Possibly Maybe (05:22) 7 Hyperballad (05:05) 8 I Go Humble (04:03) 9 Big Time Sensuality (04:53) 10 Enjoy (03:39) 11 I Miss You (03:56) 12 It’s Oh So Quiet (03:52) 13 Anchor Song (03:11) 1 Visur Vatnsenda Rósu (01:52) 2 Hunter (04:17) 3 You’ve Been Flirting Again (03:34) 4 Isobel (04:55) 5 All Neon Like (04:56) 6 Possibly Maybe (05:43) 7 5 Years (04:09) 8 Come to Me (04:20) 9 Immature (02:59) 10 I Go Humble (04:24) 11 Bachelorette (05:17) 12 Human Behaviour (03:52) 13 Pluto (03:55) 14 Jóga (04:25) 15 So Broken (04:27) 16 Anchor Song (05:53) 1 Frosti (01:23) 2 Overture (03:36) 3 All Is Full of Love (04:04) 4 Cocoon (04:31) 5 Aurora (03:44) 6 Undo (05:48) 7 Unravel (03:38) 8 I’ve Seen It All (05:17) 9 An Echo, a Stain (04:35) 10 Generous Palmstroke (04:08) 11 Hidden Place (05:37) 12 Pagan Poetry (05:30) 13 Harm of Will (04:31) 14 It’s Not Up to You (05:24) 15 Unison (06:22) 16 It’s in Our Hands (06:27) |
 | Album: 10 of 16 Title: Medúlla Released: 2004-08-25 Tracks: 14 Duration: 45:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Pleasure Is All Mine (03:26) 2 Show Me Forgiveness (01:23) 3 Where Is the Line (04:41) 4 Vökuró (03:14) 5 Öll birtan (01:52) 6 Who Is It (Carry My Joy on the Left, Carry My Pain on the Right) (03:57) 7 Submarine (03:13) 8 Desired Constellation (04:55) 1 Oceania (03:24) 2 Sonnets / Unrealities XI (01:59) 3 Ancestors (04:08) 4 Mouth’s Cradle (03:59) 5 Miðvikudags (01:24) 6 Triumph of a Heart (04:04) |
| Medúlla : Allmusic album Review : Its hard to accuse Björk of making music influenced by commercial or critical expectations at any point in her career, but her post-Homogenic work is even more focused on following her bliss, whether that means acting and singing in Lars Von Triers grim musical Dancer in the Dark; crafting tiptoeing laptop lullabies on Vespertine; or, in the case of Medúlla, sculpting an album out of almost nothing but singing and vocal samples. The albums title and concept refer to the purest essence of something, and Medúlla explores both the ritual power of the human voice and some of the most essential themes of Björks music in a way thats both primal and elaborate. It took a large cast of characters to make the albums seemingly organic sound, including vocalists ranging from Icelandic and British choirs to Inuit singers to Mike Patton and Robert Wyatt; programmers like Matmos, Mark Bell, and Mark "Spike" Stent; and beatboxers such as Rahzel and the onomatopoeically named Japanese artist Dokaka. Several songs are sung in Icelandic, which works especially well, not only because it ties in with Medúllas concept, but also because of the languages sonic qualities: the rolling Rs, guttural stops, and elongated vowels reflect the alternately chopped and soaring arrangements behind them. Neopaganism and unfettered sensuality also wind through the album, particularly on "Mouths Cradle," along with meditative, Vespertine-like pieces such as "Desired Constellation." Medúlla is unusually intimate: Björks voice is miked very closely, and with the dense layers of vocals surrounding her, it often sounds as if youre listening to the album from inside her larynx. Some of the heavy breathing, grunts, and ululating woven into the album come close to provoking physical reactions: the eerie sighs and throat singing on the feral "Ancestors" make the chest ache and suggest a particularly melodic pack of wolves. Meanwhile, theres something simian about Dokakas gleeful babbling and beats on "Triumph of a Heart." Despite its gentler moments, Medúllas raw rhythms and rarefied choral washes make it the most challenging work of Björks career. "Where Is the Line" is one of her tough, no-nonsense songs, and Rahzels hard-hitting beats make it starker than anything on Homogenic. Even relatively accessible songs, like the gone-native loveliness of "Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)" and "Oceania," which Björk wrote for the 2004 Athens Olympics, have an alien quality that is all the stranger considering that nearly all of their source material is human (except for the odd keyboard or two). Actually, fans of world, contemporary classical, or avant-garde music might find more to appreciate in Medúlla than anyone looking for a "Human Behaviour" or "Its Oh So Quiet." Its not an immediate album, but it is a fascinating one, especially for anyone interested in the worlds oldest instrument being used in unexpected ways. [Medúlla was also released in a limited-edition digipack with a bonus poster.] | ||
 | Album: 11 of 16 Title: Volta Released: 2007-04-23 Tracks: 10 Duration: 51:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Earth Intruders (06:13) 2 Wanderlust (05:51) 3 The Dull Flame of Desire (07:30) 4 Innocence (04:27) 5 I See Who You Are (04:22) 6 Vertebræ by Vertebræ (05:08) 7 Pneumonia (05:14) 8 Hope (04:02) 9 Declare Independence (04:13) 10 My Juvenile (04:03) |
| Volta : Allmusic album Review : Once again finding harmony and creating alchemy between seeming opposites, on Volta Björk is bold but thoughtful, delicate yet strong, accessible and avant. The intricacy and complexity of projects like Medúlla and Drawing Restraint 9 suggested that she might have left the more direct side of her work behind, but Voltas opening track and lead single, "Earth Intruders," puts that notion to rest: the song literally marches in, riding a bubbling, ritualistic beat courtesy of Timbaland and Konono No. 1s electric thumb-pianos. Björk howls "Turmoil! Carnage!" like incantations over the din, and after several albums worth of beautiful whispers, its a joy to hear her raise her voice and volume like this. "Wanderlust" follows and provides the yin to "Earth Intruders" yang, its horns and brooding melody giving it the feel of a moodier, more contemplative version of "The Anchor Song." These two songs set the tone for the rest of Voltas pendulum-like swings between sounds and moods, all of which are tied together by found-sound and brass-driven interludes that give the impression that the album was recorded in a harbor -- an apt metaphor for how ideas and collaborators come and go on this album. Timbalands beats resurface on "Innocence," another of Voltas most potent moments; a sample of what sounds like a man getting punched in the gut underscores Björks viewpoint that purity is something powerful, not gentle. Antony and the Johnsons Antony Hegarty lends his velvety voice to two outstanding but very different love songs: "The Dull Flame of Desire" captures swooning romance by pairing Björk and Hegartys voices with a slowly building tattoo courtesy of Lightning Bolt drummer Brian Chippendale; "My Juvenile," which is dedicated to Björks son Sindri, closes Volta with a much gentler duet. Considering how much sonic and emotional territory the album spans -- from the brash, anthemic "Declare Independence," which sounds a bit like Homogenics "Pluto," to "Pneumonia" and "Vertebrae by Vertebrae," which are as elliptical and gentle as anything on Vespertine or Drawing Restraint 9 -- Volta could very easily sound scattered, but this isnt the case. Instead, it finds the perfect balance between the vibrancy of her poppier work in the 90s and her experiments in the 2000s. | ||
 | Album: 12 of 16 Title: Voltaïc Released: 2009-04-21 Tracks: 23 Duration: 1:59:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Wanderlust (05:46) 2 Hunter (04:18) 3 The Pleasure Is All Mine (03:20) 4 Innocence (03:59) 5 Army of Me (04:20) 6 I Miss You (03:30) 7 Earth Intruders (03:51) 8 All Is Full of Love (04:04) 9 Pagan Poetry (05:14) 10 Vertebræ by Vertebræ (05:08) 11 Declare Independence (04:18) 1 Earth Intruders (xxxchange remix) (04:37) 2 Innocence (Simian Mobile Disco remix) (07:46) 3 Declare Independence (Matthew Herbert remix) (05:22) 4 Wanderlust (Ratatat remix) (05:25) 5 Dull Flame of Desire (Modeselektor remix for Girls) (06:18) 6 Earth Intruders (Lexx 12″ remix) (06:41) 7 Innocence (Graeme Sinden remix) (04:32) 8 Declare Independence (Ghostigital remix) (02:50) 9 Dull Flame of Desire (Modeselektor remix for Boys) (05:24) 10 Innocence (Alva Noto Unitxt Remodel) (06:15) 11 Declare Independence (Black Pus remix) (08:47) 12 Innocence (Simian Mobile Disco dub remix) (07:46) |
| Voltaïc : Allmusic album Review : Leave it to Björk to make a concert release that can be treated as part of her regular body of work rather than a side note. While Björk fans have occasionally complained about the amount of repackaging of her albums, Voltaic reaffirms just how important the live aspect is to her music, and provides a couple of different perspectives on it as well. Volta sparked a particularly inspired and lavish tour that, arguably, ended up being bigger than the actual album was, but tapped into the most dramatic, primal, and elegant aspects of Björks art overall. Its fitting, then, that the chronicles of the Volta tour are just as thoughtfully crafted as the shows were (and since Voltaic comes in several different releases ranging from a single live disc to a CD, DVD, and vinyl extravaganza, fans can pick the size that suits them best). The basic version of Voltaic offers a live CD recorded in one take at Londons Olympic Studio, just hours before Björk and her band -- which included Volta collaborators Mark Bell and Chris Corsano as well as the ten-piece all-female Icelandic brass section/choir she put together for the album -- played 2007s Glastonbury Festival. Given that the live CD was recorded in better conditions than many studio albums are, its no surprise that the sound quality is excellent -- almost too excellent. This is not a warts-and-all concert recording with the occasional muddy audio and lots of crowd interaction; instead, it feels like the listener is hiding in a studio booth as Björk and her band perform a flawless rehearsal. While this approach is a little removed, the results are impressive: the Volta tracks ("Earth Intruders," "Wanderlust," "Vertebrae by Vertebrae," and "Declare Independence") actually have more impact here than they did on the original album, while the classic songs ("Pagan Poetry," "All Is Full of Love," "Hunter," "I Miss You") adapt to the percussion-heavy Volta approach well. While the versions of Voltaic that include a DVD capture even more of the concert experience, this release still offers fans a taste of the power and precision of the Volta live shows. | ||
 | Album: 13 of 16 Title: Biophilia Released: 2011-10-05 Tracks: 10 Duration: 49:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Moon (05:45) 2 Thunderbolt (05:15) 3 Crystalline (05:08) 4 Cosmogony (05:01) 5 Dark Matter (03:22) 1 Hollow (05:50) 2 Virus (05:26) 3 Sacrifice (04:02) 4 Mutual Core (05:06) 5 Solstice (04:41) |
| Biophilia : Allmusic album Review : Over the years, the packaging of Björks albums grew famously, and increasingly, elaborate, but Biophilia is the first Björk project where the set of songs isn’t the complete package. Designed as a suite of interactive iPad and iPhone apps that explore humanity’s relationships with sound and the universe, the album’s concept was so grand that it began as a musical house and ended up including scientists, engineers, video game designers, and film directors among Björks collaborators. Biophilias boldest innovations are in its presentation rather than in the actual music, which is surprisingly subtle and intimate given the concept’s immense scope, but the perfect size to be cradled in a lap or palm. Björk recorded parts of the album on an iPad, and these songs retain that intimacy. They also recall Vespertine, which was made primarily on a laptop and also kept the closeness of its creation, as well as Homogenics percussive onslaughts, particularly on the literally volcanic “Mutual Core.” Minus the project’s other layers, Biophilia sometimes feels like a soundtrack; songs such as the album-opening “Moon” are so soft and delicate that they take a while to reveal themselves without their corresponding visuals. But just because the music is only one part of the Biophilia experience doesn’t mean it’s unsatisfying. Björk embodies each song’s musical, scientific, and emotional concepts fully and cleverly: “Crystalline”’s insistent repetition captures mineral formations shooting out of the ground, especially when drum’n’bass beats explode halfway through the song. Biophilias educational side is never boring, in part because Björk relates bigger phenomena to easily understood, and often tangible, occurrences; the earth is tilted on its axis like a human heart, and DNA is an “everlasting necklace.” The gorgeous “Virus” expresses its multiplying phrases in a love song with facts and emotions in perfect harmony: “Like a virus needs a body/As soft tissue feeds on blood/Someday I’ll find you/The urge is here.” However, the most exciting thing about Biophilia is how it expresses the cycle of discovery and wonder. Knowledge and mystery don’t have to be enemies: on “Cosmogony,” science and spirituality hold hands and creation myths sit next to facts. Björk holds the sheer magnitude of the album together with repeated motifs -- moons, stars, pearls, hearts, hands, and above all generosity -- that reflect Biophilias layered meanings of love, life, and love of life. The album even completes an orbit with “Solstice" -- which features gravity harps built especially for this project (the CD version of the album also features three bonus tracks, including the hurtling, previously unreleased “Nattura”). Expectations run high whenever Björk announces a new album: how will she top herself? Biophilia is easily her most ambitious project as a whole, but its music is more about completion than competition, even against herself. Educational and emotional in a uniquely approachable way, these songs are a lovely part of a bigger picture. | ||
 | Album: 14 of 16 Title: Vulnicura Released: 2015-01-20 Tracks: 9 Duration: 58:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Stonemilker (06:49) 2 Lionsong (06:08) 3 History of Touches (03:00) 4 Black Lake (10:08) 5 Family (08:02) 6 Notget (06:26) 7 Atom Dance (08:09) 8 Mouth Mantra (06:09) 9 Quicksand (03:45) |
| Vulnicura : Allmusic album Review : Never one to do things timidly, with Vulnicura Björk delivers a breakup album that doesnt just express sadness -- it immerses listeners in the total devastation of heartbreak. Starting with the album covers wound/vulva imagery, she explores the tightly linked emotional and physical pain the end of a relationship brings with an intensity that has been missing from her music for too long. As expertly as she wedded feelings and concepts on Medúlla, Volta, and especially Biophilia, hearing her sing directly about her emotions is a galvanizing reminder of just how good she is at it. For the first time in a long time, the conceptual framework of a Björk album feels like its in service of the feelings she needs to express, and as she traces the before, during, and after of a breakup, she links Vulnicura to the most emotionally bare parts of her discography. The clearest connection is to Homogenics electro-orchestral drama, which she updates on "Stonemilker." The way Björk sings "emotional needs" echoes "Joga"s "emotional landscapes" and prepares listeners for the state of emergency that shes about to throw her listeners into. On "History of Touches," she inverts the hushed intimacy of Vespertine (the album that celebrated the beginning of her relationship with artist Matthew Barney, just as this one chronicles its end) with choppy synth-strings that convey the fractured sensuality of being physically close and emotionally worlds apart. However, Vulnicuras songs are often longer and more deconstructed than either of those albums, and the involvement of co-producers Arca and Haxan Cloak (who also handled most of the mixing) ensures that this is some of Björks darkest music yet. "Lionsong" brilliantly captures the nauseating anxiety of an uncertain relationship, its warped harmonies and teetering strings evoking a high-stakes game of "he loves me, he loves me not." Even though Björk crawls out of the abyss on the albums final third, which culminates with the relatively hopeful "Quicksand," that agonizing middle section is Vulnicuras crowning achievement and crucible. The ten-minute "Black Lake" allows Björk the space to let everything unravel, and as the strings drone and the beats tower and topple, her straightforward lyrics ("You have nothing to give/Your heart is hollow") perfectly distill the moments of purging and clarity that eventually point the way out of heartache. Here and on "Family," where Haxan Cloaks claustrophobic production makes Björks anguish (the way she sings "sorrow" contains multitudes) all the more wrenching, the purity of her expression is both highly personal and universal. Vulnicura honors her pain and the necessary path through and away from loss with some of her bravest, most challenging, and most engaging music. | ||
 | Album: 15 of 16 Title: Utopia Released: 2017-11-24 Tracks: 14 Duration: 1:11:38 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Arisen My Senses (04:59) 2 Blissing Me (05:05) 3 The Gate (06:33) 4 Utopia (04:42) 5 Body Memory (09:46) 6 Features Creatures (04:49) 7 Courtship (04:44) 8 Losss (06:51) 9 Sue Me (04:57) 10 Tabula Rasa (04:42) 11 Claimstaker (03:18) 12 Paradisia (01:44) 13 Saint (04:41) 14 Future Forever (04:47) |
| Utopia : Allmusic album Review : Björk has always been a powerful conduit for emotions: on Vulnicura, she captured the mental and physical anguish of heartbreak almost too well. On Utopia, she depicts coming back to life -- and love -- with equal intensity and creativity. Reunited with Vulnicura co-producer Arca, she expresses the albums liberation with lighter-than-air field recordings of birds from both of their homelands (Venezuela and Iceland, respectively) and lots of flute, an instrument she played as a child. These motifs echo the airy flow of her emotions and the structure-defying nature of these songs, and evoke the island paradise that she envisioned while making the album -- the perfect place to heal from a broken heart. Björk gives listeners a few glimpses of this bliss early on the album: the gorgeous opener "Arisen My Senses" is wild and lush, a reawakening full of caressing vocals, while "Blissing Me" expresses the quiet thrill of new love over fluttering harps, making the growing feelings between "two music nerds" sharing MP3s feel as quaintly heartwarming as handwritten notes. Both of these songs share DNA with "Venus as a Boy," "Hyperballad," and "All Is Full of Love" and serve as reminders of just how captivating Björks joyous side is. However, Utopias lightness isnt to be taken lightly, and she spends much of the album diving into the therapeutic work that makes happiness possible. "The Gate" sounds and feels like a sacred transformation ritual; over a deeply intoning flute, Vulnicuras wounds become openings for love to be offered and taken (later, "Features Creatures" borrows some of this mystery for its romantic déjà vu). "Body Memory" responds to the centerpiece of her previous album, "Black Lake," but where that song pulled her down deeper and deeper, here she trusts her instincts as she climbs over obstacles and hangups. Even as Utopia breaks free from pain, its songs are shaped by it, whether on the mournful "Losss" or "Courtship," where a cycle of online dating rejections leaves Björk wondering, "Will we stop seeing what unites us/But only what differs?" She focuses on how to make this unity a reality as Utopia draws to a close, most touchingly on "Tabula Rasa," a luminous wish that she burden her children with "the least amount of luggage" that she also extends to women to "break the fuckups of the fathers." Similarly, on "Future Forever," she urges listeners to turn off the loops of their pasts, but the bittersweet melody acknowledges just how big the gap between hopes and actuality can be. Utopia isnt quite as idyllic as its title implies, but its mix of idealism and realism makes it an even greater success as a manifesto for radically open love and as a document of thriving after loss. | ||
 | Album: 16 of 16 Title: Björk: Vespertine - A Pop Album as an Opera (Live) Released: 2019-04-12 Tracks: 22 Duration: 1:17:41 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Vespertine: Introduction "Chaos" (Live) (03:04) 2 Vespertine: Hidden Place (Live) (05:29) 3 Vespertine: Cocoon (Live) (05:31) 4 Vespertine: The Birth of Uranos (Live) (01:19) 5 Vespertine: Its Not up to You (Live) (04:38) 6 Vespertine: Uranos Covers the Earth (Live) (00:48) 7 Vespertine: Undo (Live) (05:33) 8 Vespertine: The Titans (Live) (00:56) 9 Vespertine: Pagan Poetry (Live) (06:45) 10 Vespertine: The Sickle (Live) (01:51) 11 Vespertine: Frosti (Live) (02:56) 12 Vespertine: Aurora (Live) (04:43) 13 Vespertine: The Emasculation (Live) (01:52) 14 Vespertine: An Echo, a Stain (Live) (05:24) 15 Vespertine: Sun in My Mouth (Live) (02:43) 16 Vespertine: The Illuminated Man (Live) (02:51) 17 Vespertine: Heirloom (Live) (05:33) 18 Vespertine: The Blood of Uranos (Live) (01:37) 19 Vespertine: Harm of Will (Live) (05:46) 20 Vespertine: The Birth of Aphrodite (Live) (01:00) 21 Vespertine: Unison (Live) (05:33) 22 Vespertine: The Golden Age (Live) (01:49) |