Vespertine is an album that focuses on the aesthetic of honesty and transparency. The places where her voice cracks only add to the texture of each song, making it seem that much more earnest. This album is not a place where Björk is concerned with vocal performance so much as creating the right ambiance. “When I wake up…In his arms, he’s still inside me,” she sings in shaky falsetto. The song gives a feeling of closeness, as if Björk is personally whispering to you, “let’s go to our hidden place.” On the next track, “Cocoon,” Björk softly murmurs about the surprising intimacy she has found with her partner. This simplicity and brashness is the charm of Post.ījörk’s idea about the secrecy of music downloading and individual listening continues into the content of the music itself, with the album’s first track being titled “Hidden Place.” The song features a subtle choir paired with micro-beats that were created from everyday domestic sounds. The song’s chorus features Björk screaming “enjoy!” and doing her signature growl over a militant beat. Her descriptions are paradoxically precise yet ambiguous enough to contribute to the mysterious song. “How can I ignore? This is sex without touching…I’m only into this to enjoy” she says, her voice filtered and distant. Produced with the help of trip-hop pioneer Tricky, the song features a bass-heavy production that blends hip-hop beats with industrial synthesizers to create a track that is eerie yet club-ready. In “Enjoy,” the singer explores a dangerous and unprecedented moment of intimacy. At times combining the genres and other times featuring them on their own, this album offers big industrial beats (“Army of Me”), jazzy pop standards (“It’s Oh So Quiet”), and the chaotic, everything-but-the-kitchen-sink production of “I Miss You.” Although it’s not an immediately cohesive album, the glue that holds it together is Björk’s evolving lyricism and its relationship to the music. The singer dives head-first into genres previously untouched by her. The song is a glimpse of the minimalist direction that the singer would adopt after the turn of the century, and the rest of her albums in the nineties are an interesting transition into that.ījörk’s second album, Post, is even more diverse than her first. She opts instead for a single verse repeated twice, in which she vows to always live near the ocean. It is the only song on the album entirely produced by Björk, and notably does away with orthodox song structure. “The Anchor Song” features a minimalist arrangement of saxophones that are meant to sound like boat horns. This wish to escape the crowded city and go somewhere quiet is fulfilled in the album’s last song. The volume and clarity of the track changes as people open and close the bathroom doors, and it really feels like you’re inside a dance club with Björk as she cajoles you into sneaking off to the harbor to see the sun come up. “C’mon on, girl! Let’s sneak out of this party. The song was recorded in the bathroom of a London bar and uses its hustle-and-bustle as a backdrop for its steady beat and sultry vocals. In “There’s More to Life Than This,” the singer ponders an existence beyond partying while at a bar. As co-producer, Björk uses not only her lyrics to tell her story, but the music itself. Debut is Björk at her most radio-friendly the conventional verse-chorus structure is largely intact throughout, but that doesn’t mean that this a simple pop album. Artists like M.I.A., Lady Gaga, Robyn, and Grimes have all cited being influenced by the album’s eclectic blend of genres from electropop to art pop. It’s hard to understate the legacy this album has had on dance-pop music.
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