Björk
Drawing Restraint 9

THE REVIEW

A vastly underrated album and it's a shame: "Drawing Restraint 9" is not just a musical homage to the film of Matthew Barney (Bjork's husband), nor a little gift for her love, it's a true album that works even without being accompanied by the film's delusional images. It may be difficult to listen to, but the music captivates: just the first notes of the harp in the opening track "Gratitude" (entrusted to the voice of Will Oldham) are enough to be enthralled: it's a dark, deep, and intangible song with a charming chorus of Japanese children at the end. In "Pearl", the musical journey that began with "Medúlla" continues, returning to origins, to the voice, the oldest of musical instruments: hence the performance by the Inuit singer Tagaq, offering a display of guttural sounds, accompanied by the sho, an ancient Japanese musical instrument that has fallen into disuse.

"Ambergris March" is a cheerful instrumental incursion of glockenspiel and xylophones that lifts the spirits, "Hunter Vessel", a terrifying but enchanting wind incursion, and the interesting "Holographic Entrypoint", ten minutes of Noh theater, as well as the splendid pieces of solo sho like "Shimenawa" or the concluding "Antarctic Return". But it is the pieces sung by Bjork that are the masterpieces: "Storm" above all: unsettling and electronic background noises, storms, sea, and chains with Bjork's voice delivering a magnificent performance, "Cetacea", a delightful duet of glockenspiel and voice with an incredible vocal performance, and "Bath", a delirious song on electric piano.

What can I say? "Drawing Restraint 9" is a daring album, like the film it accompanies, perhaps a transitional album, but an essential step in the career of the Icelandic sprite. Definitely worth listening to.