Album Review: Bjørk, Biophilia

Boundary-breaking? This is boundary shattering !
Few would dispute the assertion that when it comes to breaking down musical boundaries, Icelandic eclectic standout, Bjork is one of the best in the business. Her eighth studio album, Biophilia encapsulates this attestation better arguably better than all of her mysterious creations coupled together.

Biophilia is, according to Bjork, a  multimedia collection “encompassing music, Ipod applications, internet, installations, and live shows. The album took 3 years to make and features around ten separate IPAD apps all housed within one “mother” app.

Each of the smaller apps, coupled after song names / themes relate to a different track from the album, allowing people to explore and interact with the song’s theme or even make a completely new version of them. The Guardian has gone as far as calling the album the future of music, on account of the illimitable possibilities for user interaction and indeed the sheer scale and weight of the project.

In fact, even if the album were absolute tripe, the very concept itself is enough to ensure it still gets the praise it deserves. Unsurprisingly, the music matches the concept down to a T. Each song is a sensual journey into the world of specific themes, within which Bjork’s emphatic vocals and poetic lyricism are juxtaposed against all manner of poignant instrumental cacophonies, including several specially constructed instruments such as The Tesia.

Biophilia also features lofty renditions by wildlife commentator David Attenborough and a compelling essay by Nikki Dibben who both add dimension, flair and surprise to one of the most innovative albums of our time.

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