The melodies are still tough, but the Icelandic singer-producer's 'mushroom' project casts a trippy spell.
was largely produced alongside Nellee Hooper, so 1995’swas a cosmopolitan and extroverted portrait of time spent in London, so 1997’swas a sparse assault of strings and distorted, “volcanic” beats, so 2001’swas warmed with the kind of laptop IDM that folded sometimes upwards of a hundred tracks into a single song, often with a pinprick approach to percussion.
And on and on. It’s a kind of whisper-down-the-lane approach to convention breaking that keeps Björk truly avant garde and imbues each album with urgency—every time,One convention that she is seemingly unwilling to deviate from, though, is the reduced sense of melody in what she sings. It’s not that she’s atonal, per se—her music has remained plenty, she’s been drifting away from the very concept of a hook. The putative center of her work has gotten harder, less user-friendly.
, as always, prone to outlandish metaphor but the overall effect is straightforward. For someone whose sounds are frequently alien in the most thrilling sense, for someone who has been called an alien herself, Björk is capable of being refreshingly down to earth.But are these unconventional anti-earworm melodies not excuses, as Björk sings in lead Fossora single ‘Atopos,’ to not connect?
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