Prickle by Mira Calix

2001, Warp, Two tracks at 25 min.

Intelligent dance music---or ‘IDM,’ as critics and fans have so dubbed it---can be a fickle genre of electronic music. Aphex Twin, the genre’s poster boy, is very representative of that fact. One can listen to the enlightened ether of “Film” and then immerse themselves in the abrasive aggression of “Tamphex.”

Mira Calix (real name Chantal Passamonte) is somewhat a rare entry in the IDM field, as she is one of the few female participants in the intellectual beat-mixing fray. This might be due in part to her marriage to Sean Booth of Autechre, another IDM pioneer. Regardless of Passamonte’s methods, she has come into her own as an artist, releasing several LPs, as well as a few seemingly accessible EPs. One such EP is 2001’s Prickle.

Containing only two tracks, Prickle begins with a nearly-nineteen-minute excursion divided into four parts: “i. Miliaria,” “ii. Giggle And Hide,” “iii. Lalela,” and “iv. What Are You Afraid Of?”

It’s difficult to tell when each movement begins and ends unless one plays close attention; and, honestly, I failed to do so as the music strikes a fine balance between ambient and noticeable. After a few minutes, a childlike voice appears (Calix's own), and, following that, some retro beats and synthesized orchestration, which tastefully melts to a point. After said portion ended, I said to myself, “Hmm, is this almost over?”

No; but I’m glad the track did not end there, since I was soon taken into a Twilight Zone forest, an automated factory, and a stereo snowstorm by Calix’s darkly tranquil brew. For such a long track the listener not acquainted with IDM might think fickleness would be a necessity; but no, Calix is able to successfully melt the lonely comforts of the multiple atmospheres together without sounding like an electro-Sybil.

The second track, “Skin With Me,” remixed by Andrea Parker, is less interesting and a bit sluggish at six minutes long. An indecipherable vocal sample is backed blandly, but the song seems a tad finer if listened to immediately following the first track.

Prickle is a nice presentation of Calix’s talents, and while it’s not something I would recommend to an IDM first-timer, I do suggest a spin or two by those more familiar with the genre.

RATING: 4/5

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Bedtime Stories by Madonna

1994, Maverick, 11 tracks at 51 min.

It’s hard to deny the appealing design of this album: the slim Helvetica in ice cream parlor colors, the soft turquoise bed upon which Madonna lays, and even Madonna herself, in her imitative prime, acting as a vague ghost of Marilyn Monroe.

Moving from the Cindy-Sherman-esque connotations of the cover and onto the music, it’s clear that the postmodern motif is represented in the tunes as well. It’s difficult to judge this album since every single one of these songs is super-produced, oiled and mixed and flagellated into pop precision by the productive charms of Nellee Hooper, Dallas Austin, and Dave “Jam” Hall. You’ve doubtlessly heard “Secret” and “Take a Bow” at some point in the past fourteen years. And, taking the record through its first spin, the listener is smoothly taken into a swirling mass of R&B that seems endless.

Madonna made it clear with previous records and Truth or Dare that it’s all about image; that there’s no other Madonna besides the one you see throwing up her arms in praise and running from burning crosses. Madonna successfully reinvented herself time after time, from rebellious daddy’s girl to dance floor demigod to controversial coffee table piece.

On Bedtime Stories, Madonna knows she’s playing around. She’s nothing but image, free to invent a new personality, free to cleanse herself of allegations of whorishness and subsequently become a sensuous, subtle, and seductive coquette. When she sings that words “have lost all meaning” on “Bedtime Story,” she’s not kidding. This is a mindless, empty, verbally bereft album. It’s a perfect relic of the postmodern nineties. And that is what makes this album so great. There’s nothing to distract from the engineered smoothness of the music; the constant flow of relaxed melodies. Bedtime Stories indeed.

RATING: 4.5/5

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Headlines EP by Neon Blonde

2005, Dim Mak Records, 4 tracks at 13 min.

While I should probably stop judging my album purchases based on group name, I think purchasing the Headlines EP by Neon Blonde was justified. The name Neon Blonde just shines with youth and vigor, all pointing to some inert playfulness, some hidden flirtatiousness. Upon looking at the artist picture on Amie Street, I decided that yes, these two young fellas must make some scintillating electronic bullshit.

My selection was certainly a good one. Neon Blonde has crafted four short and wryly sweet musical hissy fits. “Headlines” blurs simple piano, repetitive drum beats, and frontman Johnny Whitney’s sadomasochistic yelps into a highly satisfying piece. “Barbados Nights” takes Whitney’s vocal flair and twists it into perfection; the rapid coital shrieks are so wonderfully backed by neo-disco beats that Whitney’s crowing is easy on the ears. However, Headlines is not perfect, and not even Whitney’s delightful shrillness can save “Savannah Nights” from losing face. The token remix of “Headlines” is just that; a token remix that’s not terribly exciting aside from more aggressive drums. Skip the remix and “Savannah Nights” and go get Neon Blonde’s LP, Chandeliers in the Savannah.

RATING: 4/5

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Klaus Nomi by Klaus Nomi

1981, RCA, 10 tracks at 32 min.

For those afraid of clowns, the thickly powdered face of Klaus Nomi may be enough reason to avoid the man’s music. For those unafraid of clowns, though, the general inaccessibility of his work may be prove to be a greater obstacle.

Nomi gained fame as a New Wave experimentalist in the eighties, but died an AIDS-related death at the age of thirty-nine in 1983. He had released two albums by the time of his death, one eponymous and the other titled Simple Man. Posthumously, a compilation by the name of Encore! was released. Perhaps due to his modest discography, the experimental-operatic-new-wave countertenor never quite achieved massive success. But amongst listeners(some of them introduced to Nomi by an episode of the Venture Bros, including myself), he remains a gem in their collections. From his debut, it’s clear why.

With only thirty-two minutes of music on Klaus Nomi, it may seem as if his premier album has little space for articulating artistry. But through a fresh fusion of influences and unique vocals, you’ll find yourself either hating or loving Klaus. If you happen to love the album, you may find your finger constantly pressing the “repeat” button.

At one point, you might laugh at the notion of listening to a shoulder-pad-donning, wide-eyed, slick-haired male vocalist with the vocal range of a prepubescent boy. But once you’ve given Klaus a few spins, you’ll stop laughing and say, “My God…this is the strangest, most beautiful, spaciest album I’ve ever listened to.”

It is difficult to recommend “standout” tracks, as the album is coherent in its excellence. The Gregorian chanting on “Keys of Life” may be off-putting at first, but once it slides into Nomi’s heavily German take on “Lightning Strikes” it’s clear that Nomi has the musical chops to back up his avant garde aesthetic. Pop standard “The Twist” is transformed from light rock and roll into a witchy brew of laughter and strange enunciations. The synthesized anthem “Nomi Song” is even more enjoyable; its sharp, self-interrupting vocals play patty cake with the quick stretches of electric guitar and dated piano.

On “You Don’t Own Me,” Nomi takes Lesley Gore’s classic of female independence and magnifies its message twofold through his German snarl and gender bending adoption of the lyrics. “Who says I can’t play with other boys?” he inquires, and while one’s first response may be to giggle, Nomi seems to mean it. “Cold Song” reveals Nomi’s classical knowledge and ability; his virtuosity here is extra proof of his honesty. A Nominian interpretation of the Twilight Zone seems to pop up on “Nomi Chant,” while urgency and anger are more clearly felt on “Wasting My Time” and “Total Eclipse.” “Samson and Delilah (Aria)” supplies a gentle close to the magnificent work.

Klaus Nomi is one of the most cosmic, ethereal sounding albums that ever resulted from the musical mountain of the eighties. Leagues ahead of other New Wavers’ pop quirkiness, Klaus Nomi is a supreme debut and musical achievement. Highly, highly recommended.

RATING: 5/5

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Kala by M.I.A.

2007, Interscope, 12 tracks at 47 min.

Robert Venturi might have been talking about architecture when he said “Less is a bore,” but M.I.A. adheres to the maxim on her latest (and lavishly praised) album Kala. The motherly follow-up to 2005’s masculine Arular, Kala is a world tour in under an hour.

The first track, “Bamboo Banga” provides Kala with a powerful kick start. “Bird Flu” sounds like a crowded Asian marketplace bursting with activity, while “Boyz” is akin to the celebration that follows on the town commons. And “Jimmy,” a Hindi-disco-tinged Bollywood cover, is infectiously danceable.

“Hussel” (with Afrikan Boy) is simultaneously tropical and frightening, immediate and natural. “Mango Pickle Down River” is the album’s slowest, dredging track. However, the addition of rapping Australian boys is certainly original, and it enlivens an otherwise vapid track.

“20 Dollar” is a superb combination of vocoder effects, rough-edged beats and coarse rapping. “Where is my mind?” asks Maya during the song. One certainly won’t find it on the chaotic, abrasively gorgeous “World Town.” But subsequent track “The Turn” restores some stability and sanity to the listener before moving onto the last quarter of the album.

“XR2” is a marching band with more cocaine than a Victorian medicine shop. Proceeding it is the relatively threatening “Paper Planes,” replete with gunshot sound samples and finger snaps. The previous ten tracks guarantee M.I.A. fuses these sonic curiosities into a near-perfect synthesis. The sendoff track, “Come Around” features Timbaland, and it seems mellow, Rihanna-ish even, in comparison to the volatile energy that Kala embodies.

Despite a mild closing track, and a duet with rapping Aborigine boys that fails to dazzle, Kala is both an impressive effort and success. Sassier than the boozing Amy Winehouse and obviously more danceable, Kala is one of 2007’s spunkiest albums. Drenched in political subtlety and amazingly cohesive diversity, Kala is nothing short of brilliant.

RATING: 4.5/5

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A World Without Zinc by Bass Kittens

Pretension Records, 3 tracks at 16 min.

You know, when I downloaded an EP from an “artist” called Bass Kittens I assumed there would be some sort of whimsical streak present. I was proved wrong by the thankfully-short A World Without Zinc, an EP containing three pieces of utmost unoriginality.

“Mille Feuille” gives a “free-music-that-came-with-the-Flash-template vibe;” and, unfortunately it is the best track here. One has to suffer through the aimless “Lick My Love Pump” for nearly six minutes, and “When We Were the Sun” sounds similarly soulless. But this doesn’t even sound like good production music. It’s poorly crafted techno chock full of cliché. Aphex Twin lite, anyone? No? Then keep on moving.

RATING: 1.5/5

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Bachelorette [Maxi-single] by Björk

2001, One Little Indian, Six tracks at 24 min

This attractive six-track single comes with five mixes of “Bachelorette,” the “Isobel” continuation from Homogenic. This single begins with an unessential radio edit, then moves into a five-and-a-half-minute, hip-hop infused remix by RZA of the Wu Tang Clan (the results of a fruitless Wu Tang-Björk collaboration). Three Mark Bell mixes follow, and the single is capped off with the semi-fan-favorite “My Snare” (also called “Nature is Ancient.”
Of the Björk singles I own, I must say that Bachelorette is one of consistent quality. RZA's remix is interesting beyond the novelty factor; its brooding grittiness transforms the song into a gleaming dark gem. Mark Bell's mixes provide techno-fueled excitement to the Homogenic classic. The “Blue Remix” is bouncy, highly danceable, tinged with a Caribbean feel. The “Zip Remix” is contrastingly Oriental: squeaky, speedy, video game-like bloops flying against the backdrop of a thumping bassline. The “Optimism Remix” plays upon and enhances the theatrical attributes of the original, turning “Bachelorette” into a sweeping operetta. “My Snare” is organic, ironic; distant and technological yet bleeping with new life.
A fine collection of mixes, Bachelorette is highly recommended for fans of Homogenic or Debut, as the big dance sound of this single reminds one of Björk's earlier days. Those interested in the RZA remix may also be compelled to purchase this single.

RATING: 3.5/5

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Telegram by Björk

1996, Elektra, 11 Tracks at 51 min.

A remix usually constitutes just what it implies: vocals with some new instrumentals, and maybe a reverb, delay, and cutup, or two. But Björk being Björk, her less-than-monumental yet doubtlessly ambitious 1996 remix album Telegram is cut from a different cloth than most remixes. In fact, it’s another fabric entirely.

Before any commentary, it should be duly noted that, if you disliked Post, stay far away from Telegram. There is certainly difference between the two, but if you found yourself moaning at the LP version of “Headphones,” you’ll practically gag on the minimalist remix on this disc.

But “Headphones” is the only track that’s drastically minimized. The other songs feel busier, in fact. “Army of Me,” for example, goes from the lead character to the anthropomorphic tree in the background. “Army of Me” is not minimized in a traditional sense, though the harsh electronic beats applied to it on Telegram diminish its original declaratory beauty.

If you found “Hyper-ballad” lacking on Post, you’ll be happily surprised by the Brodsky Quartet version here. It sweeps into a Top Forty, Coldplay-esque crescendo that communicates such a rife, orchestral beauty——a beauty not found in the aforementioned forty. The hip-hop remix of “I Miss You” is a decent, slow-moving old-school mix that not everyone will find Björkish enough. Then again, the yuppie-lounge mix of “Isobel” may cause some listeners to instantly press “eject.” And as for “Enjoy”? I don’t what the hell is going on there. It’s grating and pretty damn annoying. Instantly forgettable.

“Cover Me” has a little drum n’ bass thing going on, and it works to an exciting degree. “Possibly Maybe” is possibly better than the original. A misty mysteriousness surrounds it, a blackened fog. Portishead vibes result, sans the emotional whining of Beth Gibbons. “You’ve Been Flirting Again” reminiscences a deathly little music box. It shimmers and then ogles at it own pity. An excellent track; perhaps another vastly preferable to the original.

The b-side “My Spine” is also included. It’s a tiny sensuality that’s breezy and a bit ominous at the same time, thanks to Evelyn Glennie’s percussion.

Is the luxurious electronic silk that Telegram is made of worth your time, or should you stay to the classics and stick with Post? For a Björk fan, it’s a worthy album and deserving of a spot on the CD rack. Otherwise, skip Telegram as a whole and buy its best tracks: “Hyper-ballad,” “Possibly Maybe,” “You’ve Been Flirting Again,” and “My Spine.”

Vespertine by Björk

2001, One Little Indian, 12 tracks at 55 min

If you listen to Homogenic and Vespertine in succession, it won't take long to realize that Vespertine is undeniably post-coital compared to its predecessor. It is the most naïve, intimate, sensual album that Björk has created. Appropriately, it is far from everyday listening.

Glacial vocals are empowered through Matmos' organical-mechanical beats. Lyrics strip Björk to her bare skin, making us ask ourselves, “Is she a feminist or not?” And the videos commissioned for Vespertine carry a unique air of pagan nudity (pierced nipples included). Add a rare Björk instrumental, “Frosti,” and you’ve in your hands a musical lapis lazuli, a blizzard snapped tightly between the hinges on an apropos white jewel case.  read more »

Good Girl Gone Bad by Rihanna

2007, Island Def Jam, 12 tracks at 46 minutes

You know who Rihanna is. You’ve heard “Umbrella” on the radio about a hundred times now. Even octogenarians, through their careful reading of People, know who Rihanna is. So I’ll cut straight to the point. Good Girl Gone Bad is an excellent album. It’s solid, danceable, non-bubblegum pop. Why shouldn’t you buy it?

Well, it costs about fifteen bucks. If you’d rather spend your hard-earned greenbacks on M.I.A’s Kala or Arcade Fire’s Neon Bible, that’s understandable.
Or, if you’re a hipster who refuses to listen to Rihanna because she isn’t indie, well…it sucks to be better than everyone else, doesn’t it?

If you’re a super conservative prude, the gynecological and carnal references in practically every song may get on your nerves. “Come into me?” “I like the way you do it?” “Shut up and drive?” No rebellious, raunchy songs pertaining to premarital sex for you, John Smith.

And, if you’d like a perfect album, you won’t exactly obtain that here. It’s obviously super-produced. “Shut Up and Drive” isn’t exactly a masterpiece, either.

If you don’t qualify for any of the above, plunk down some clams and add Good Girl Gone Bad to your collection. Is it a timeless classic? No. Is it required for any pop-aficionado? Well, while time considers its verdict, you should buy it just in case.

“Sell me candy,” sings Rihanna as the album nears its end. Ironically, it’s us who should be paying her for the deliciously good pop that she serves us on Good Girl Gone Bad.

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All is Full of Love [CD 2] by Björk

1999, Elektra, Six tracks at 27 min.

Naughty Robots

All is full of love, huh, Björk? That must be why I’m shelling out five bucks for a used copy of a Homogenic single a decade old. But, in all non-fanatic honesty, this single is worth an extra charge to the old Visa. Why? It may be the best single outputted by Björk. Considering the volume of remixes Björk has commissioned throughout her solo career, that’s quite the lofty statement. Do I plan to defend it? Hell, why not?

This maxi-single contains six mixes of the Homogenic finale. The mixes included are:

1. Video version
2. Funkstorung Exclusive Mix
3. Strings
4. Album version
5. Plaid Mix
6. Guy Sigsworth Mix

The album version, while beautiful in its own right, shows its inadequacy in the face of the superior video and strings mixes. The Funkstorung Exclusive mix is abstract and helter-skelter, bubbly and bleeping. The end result is pure electronic joy, however. The Plaid Mix is scheming and scientific, yet wholly beautiful and engrossing. It comes in close second for best mix, the best being the worldly, Arabesque mix by Guy Sigsworth. A fine ending to the single, Sigsworth’s mix reinvents the song in such a refreshing, tranquil yet sorrowful manner.

Required listening for Björk fans or those who doubt the power of a good remix. This single demonstrates that a solid starting point can result in entirely digestible, and fresh sounding, remixes.

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CrazySexyCool by TLC

1994, LaFace, 16 tracks

Some albums seem to fill their occasionally lofty, promising titles with stunning finesse. One such album, the diamond-certified CrazySexyCool makes more than ample use of its namesake.

Released in 1994, CrazySexyCool was TLC’s sophomore effort. Effort, though, isn’t much of a concern with this album. At fifty-six minutes, there’s enough nostalgic R&B on this CD to satisfy any audiophile.

CrazySexyCool contains the hits “Waterfalls” and “Creep,” with “Creep” being less-poppy and more spunky. CrazySexyCool is far from a mid-nineties showcase of Top 40, however. With five playful interludes (particularly “Sexy”), and a smattering of soul, CrazySexyCool lives up to its moniker. Hell, even the comprehensive liner notes are a welcome addition.

An epitome of girl groups and nineties pop, CrazySexyCool is resolute in its playful fierceness. An album that should be in any diverse collection, CrazySexyCool can be had for as little as $3 on Amazon. Quite frankly, there’s no reason not to buy this album.

Score:

83 out of 100

Edit, Nov 17 08: 4/5 Stars

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Isobel (Disc 1) by Björk

1995, Elektra, Disc 1 of 2, Four tracks

During the Post era, Björk’s many hits would often spawn two-CD singles with a few good B-sides and (mostly) remixes of varying quality. The first Isobel CD single is one of the better singles from the Post era.

The four tracks on Isobel CD 1 are, in order:

• “Isobel”
• “Charlene”
• “I Go Humble”
• “Venus As a Boy (Harpsichord)”

“Isobel” is Björk’s quintessential techno-naturalist epic, and rightfully deserves a place amongst her best work in part for its sheer likeability.

The second song, “Charlene,” is more a fan favorite. Generally unknown from her musical catalogue, “Charlene” is mysterious in both lyrical content and mood. “You shine on my battery, Charlene,” sings Björk, eerily coiling her tongue around “Charlene.” A strange mix of cocktail party, alien beats, and suggestive lyrics, “Charlene” is one of Björk’s best songs, due in part to its mystery. On an interesting note, the song was inspired by model Kadamba Simmons, who was murdered by her boyfriend several years later. Coincidentally, the song’s lyrics speak of Charlene’s dress being “red.”

“I Go Humble” is a fun little electronic excursion with witty lyrics. “I should be arrested,” sings Björk. The song isn’t poor enough to warrant incarceration, but its slightly dated synth prevents it from becoming a classic B-side.

The “Venus As a Boy” harpsichord version is peacefully reinvigorated by the harpsichord and slightly classical. A fine addition, the harpsichord version of this Debut hit ends Isobel on a tranquil respite.

One of the better Post singles, Isobel is a rare treat that should be added to your collection if you have the chance.

Score:

88.7 out of 100

Edit, Nov 17 2008: 4.5/5 stars

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Post

By Björk

1995, Elektra, 11 Tracks

A common fear amongst the musical trifecta of listener, reviewer, and creator is that a stunning debut album can be easily soured by a less-than-genius sophomore work. Björk’s debut album, aptly titled Debut, received encouraging reviews after its 1993 release, but also spiked anxieties as to future work. Unlike some artists, her second album not only purged thoughts of inadequacy but saw a massive growth in her musical ability. 1995’s Post was widely acclaimed, and it remains to this day the Björk album that appears on superlative lists. Often though, printed parades of “Best Of” are meager, gimmicky editorial attempts.  read more »

1996, Elektra, Six tracks, Disc 1 of 2

If any one artist knows how to exploit the idea of a single, it’s Björk. With six singles from her 11-track album Post, and each single released as two CDs (“Possibly Maybe” had three), it can be difficult to navigate the ocean of Björk mixes (which has thankfully calmed on more recent albums).

Hyper-ballad is one of the thirteen CD-singles from Post. Without any B-sides, is it worth swimming the Remix Ocean for? CD one contains six remixes of “Hyper-ballad,” and they are:

• Radio edit (3:58)
• Robin Hood Riding Through The Glen Mix (6:29)
• Subtle Abuse Mix (6:53)
• Tee’s Freeze Mix (7:19)
• David Morales Classic Mix (9:10)
• Towa Tei Choice Mix (8:13)

The radio edit contains no new material, as is to be expected. The “Robin Hood” mix is a mellow, synth-infused mix that wears out its welcome a tad. “Towa Tei” is certainly a relic of nineties house, but it remains an enjoyable listen. The “Tee’s Freeze Mix” sounds remarkably similar to “Towa Tei.” Actually, the entire CD sounds similar. The “David Morales Classic Mix” is tiresome, and as a whole the remixes are mediocre.

A fun listen, but ultimately lacking in diversity and points of interest. Recommended for a workout. Or a rave, I suppose.

Score:

65 out of 100

Edit, Nov 17 2008: 3/5 Stars

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1997, Elektra, 10 Tracks

Following a bomb threat and a skirmish in Bangkok, Björk released Homogenic in 1997. Her third solo album (if you discount her 1977 eponymous release), Homogenic followed on the heels of Debut and Post, the former being undeniably poppy and the latter brimming with trip-hop. And while Vespertine is the most personal of her studio albums, Homogenic was an important transitional marker for Björk. It took her from the disconnected, somewhat harsh sounds of Post into an era of utmost musical truth.

Homogenic is strikingly intimate in both aggressiveness and passivity. While being open to the listener, however, it maintains a sort of emotional shield that generates a constant state of inaccessibility. Like Björk’s vocal interplay with Einar Örn in the Sugarcubes, Homogenic requests that there be a rapport between musician, music, and listener. It takes patience to appreciate the genius of Homogenic. If one is interested in starting a Björk album collection, Homogenic is not recommended for a first purchase. Its sonic aesthetic is akin to that of an abstract painting: some get it, some don’t; but those who do get it eventually fall in hopeless love with it.

Hopelessness is a theme that seems to run through Homogenic. “Joga,” the second track, describes the landscape of Iceland (Björk’s homeland) in very emotional terms. Despite the moving qualities in both instrumentation and Björk’s singing, “Joga” manages a sense of despair versus hope. “Joga” sparks hopeful at moments, and its powerful structure allows for a truly beautiful song.

A touch of hopelessness does not drain beauty from “Joga,” nor does it restrain the lead track, “Hunter.” Murderous in intent and stark in instrumentation, “Hunter” is brimming with a dominance certainly not found on Debut and represented only on Post by “Army of Me.” Hauntingly minimal, “Hunter” is Björk at her least organic and most calculated.

“Unravel” drifts from calculation and is decidedly natural in its hopelessness. “Unravel” trifles in the industrial with its layered vocals and dark, deep beats. The combination of natural emotion and machination harmonize in such a way that impressive amounts of heaviness and intensity result.

Far heavier than “Unravel” is “All Neon Like.” The fifth track on Homogenic, “All Neon Like” is luminous in all aspects of its composition. The wine-glass-like hum in the background comes courtesy of Alasdair Malloy’s glass harmonica, and it injects the song with an ethereal quality that is masterfully tranquil. The heavenly glass harmonica seems to compete with lyrics concerning razor blades; the dichotomy between the two makes “All Neon Like” rife with substance and life.

“Bachelorette,” theatrical in nature, is an epic, ominous song. Playful but threatening, “Bachelorette” is an exciting romp.

The angry “5 Years” taunts a cowardly lover with Björk’s signature raspy vocals, dissonant beats, and even a few strings. “I dare you” sings Björk; a fitting snippet for such an adventurous composition. Empowered and invigorating, “5 Years” is suitable for the less-conventional morning jog.

“Immature,” thankfully the album’s shortest track, is aptly named; the inclusion of such a weak track is “immature” compared to the depth of the rest of Homogenic. Set against a lackluster electronic loop, not even a heaping helping of rasp can save “Immature” from being Homogenic’s lowliest track.

“Alarm Call,” while not one of my immediate favorites, is a feisty track that requires a few listens before a proper judgment can be given. “I’m no fucking Buddhist,” sings Björk in a rare show of lyrical profanity, “But this is enlightenment.” While not quite “enlightenment,” “Alarm Call” is a fun listen before the primal nature of the penultimate track.

“Pluto” is the harshest, most electronic Björk has ever produced. It is not formulaic like “Hunter,” but it is the most raw and crude Homogenic has to offer. A lightening storm of fury and natural regression, “Pluto” is death and rebirth compressed into 3 minutes.

The true rebirth begins with the final track, “All Is Full Of Love.” Dubbed “the most sugary song ever,” by Björk, “All Is Full Of Love” is a track that, quite fittingly, is brimming with simple sentimentality. Like an outpouring of fresh water from a mountain spring, “All Is Full Of Love” cleanses Homogenic

Homogenic is an album that, once examined, is bold in both method and content. Though far from a musical expert, I can wholeheartedly recommend Homogenic to those who are more adventurous in their musical tastes.

Score:

88.4 out of 100

Edit, Nov. 17 08: 5/5 Stars

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