So, Bjork’s highly anticipated new multimedia album, Biophilia, is out this week after being pushed back from its original September 27 release date.
Can I be honest about something? I find the whole thing really, really intimidating! I mean it’s got iPad apps, custom-designed instruments, two-month concert residencies, science and music classes for kids. Oh, and an album.
It’s all just a little overwhelming.
So it’s a relief to find out the album itself can stand on its own. For all the bells and whistles associated with its release and promotion, Biophilia is pretty much just another Bjork album.
I don’t mean that to sound dismissive. A Bjork album is usually a lovely thing to hear—in a left-of-center kind of way—and Biophilia delivers on the singer’s familiar territory: beats and electronic distortion interlaced with ethereal embellishments like harps, strings, music boxes, and Bjork’s distinctive elasticized wail.
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