The latest project from multi-dimensional artist, Björk, adds yet another rich dimensional layer to the already complex creative stratosphere that makes up her ever-sprawling cosmic body of work. With Biophilia, she’s developed an intricate production that weaves together her trademark musical composition with poetry, essays, and the interactive world of modern mobile technology.
[Release page] The latest project from multi-dimensional artist, Björk, adds yet another rich dimensional layer to the already complex creative stratosphere that makes up her ever-sprawling cosmic body of work. With Biophilia, she’s developed an intricate production that weaves together her trademark musical composition with poetry, essays, and the interactive world of modern mobile technology. Engaging our eyes and sense of touch with an iPhone and iPad application, does much to enhance this piece of work, as, hearing it stripped away from the bells and whistles, it has left something to be desired.
The jagged rhythms and seesawing interplay of organic voices, instruments and poetry, and cold, unfeeling machina, stain the project with the sound that is uniquely Björk, but where previous work seemed to expose more vulnerability and let the auditor in on the delicacies of the artist’s human condition, this album seems a little self-indulgent. With more of a story-telling element to most of the tracks, there’s more holding that listener off at a distance, which, for this songstress’s most devastatingly revealing style, seems like this time we listeners get to watch the game, so wholly held back from being a part of it.
Biophilia as a name seems to suggest variety where there is very little on the audio portion of this album. Newly created instruments and sounds foreshadow this album with excitement, but the idea and the product leave the musical journey itself a little flat. For what it is, there are redeeming elements: the phantom mist-like choral vocals, the folky storytelling amid the floating, ambiantly cosmic spaces, the sudden clatter of drum and bass breaks that shatter the softness for a moment. Tracks that won over the monotony were “Virus” with its gentle chimes, harp sounds, and, frankly, the poetry that makes the scientific description of viral infection sound like love (amazing); and “Crystalline,” a chiming xylophonic reverie ruptured by a metallic and raspy amen break-beat. The element of surprise seem not to be on the periodic chart this time, but perhaps saved for the interactive programming.
While as a whole, the tracks may be a bit of a bummer from the likes of such an astounding artist as Björk, the Application far and away meets any expectation and obliterates all doubt that she continues to hold her glittering crown as artistic royalty. The starter Biophilia App is free to download, but offers each song as its own $1.99 interactive experience, with games, essays, music, videos and more. The sheer beauty of the App’s design, its galaxy-like 3D structure, and twinkling selection dots, is enough to have it as an addition to your home screen. With each individual download, the user can explore each track in detail and follow its inspiration in ways that only the artist herself previously was able to see it.”Solstice” becomes a moveable, playable harp that looks like a Christmas tree, as well as the story behind the actual instrument, a hanging pendulum harp, that Björk had commissioned to play on the track.
With Biophilia, Björk has again pioneered a new frontier of musical creation, fearlessly creating the Big Bang from which a new world of interactive artistry will begin.
Biophilia is out now on Nonesuch. [Release page]
