Björk - Biophilia (2011)

7/10

Björk continues to innovate, sometimes at the cost of listenability

With all the hype around iPad app-songs and a complex live show featuring newly-invented instruments, you could almost forget the simple joy of anticipating a new Björk album. While the apps (designed to relate to the themes and sound of each song on the album) aren’t necessary to enjoy Biophilia, an appreciation for the craft behind the music does help.

At times, the merging of sound and lyrics is done superbly. An eerie organ surrounds the listener as Björk calls out to the ghosts of her ancestors in “Hollow”, reaching a heart-rending crescendo as she delves deeper into the “trunk of DNA”. On the opposite scale is an attack of filthy bass as she talks of an “eruption” of emotion at the end of “Mutual Core”. 

The variety of sound is impressive. While there’s the glitchiness you’d expect from Björk, some tracks including the acoustic “Solstice” have a very organic feel to them. Gladly, “Mutual Core” isn’t the only time she delves into low frequencies; dubstep duo 16Bit show up for some delectable chaos at the end of “Crystalline”, while Current Value injects some beats into the mournful “Sacrifice”.

While Björk has an expansive attitude to technology, the lyrical themes of Biophilia relate to nature. There’s some wonderful use of metaphor to relate human emotions to natural phenomena, such as sexual desire being likened to a virus’ blind lust for a cell in “Virus”. “Sacrifice” sees the reverse of this type of imagery, with lyrics about a man neglecting his lover plainly reflecting the way in which people treat the planet.

But while there’s a lot to be said for the depth of what she’s created, Björk appears a little lost in her own creativity. While Biophilia is enjoyable enough for a casual listener, there’s too few times when it immediately grabs attention. It’s not like she needs to return to the dance-pop of her early days, but there’s a lack of memorable tunes of the ilk of “Jóga”. The concepts behind her lyrics and production are really well-developed (the manual included in a limited edition Biophilia box set illustrate her thought processes to an alarming degree). Still, it doesn’t feel right that her audience need to be so well-researched to fully appreciate, say, the significance of the pendulum in creating a changing time signature in “Solstice”. A disregard for the basic appeal of sound makes some of the album difficult to get into and, frankly, unlovable.

That’s not to take away from a strong outing by an artist whose songwriting and addictive voice are as alluring as ever. It’s just that it seems a shame that she’s turned to such an over-complicated formula when the rich imagery and charming fragility of her words are still the main draw. The strength of these aspects, and the unexpected delight of the blasts of bass in a number of songs, are the redemption of the latest outing from the eccentric Icelander.

This album was released on 5 October 2011 by One Little Indian, available at Björk's website or HMV