Utopia

THIS IS ONE OF HER BEST ALBUMS OAT. Yall dont get it, just admit it, yall want vespertine 2.0 and this is not vespertine. GROW UP, THAT WAS ON 2001

I really do love this woman. As usual the ballads are the stars and music is very very human, honestly vulnerable and connects on an emotional level.

Tabula Rasa (single-friendy) and Utopia are my favorite tracks. Arisen My Senses has bright, dynamic production as well. Saint also carries through the flutes and bird chrips for that garden paradise feel. Courtship has more of a groove behind the flutes. Those tend to be the most successful tracks for semi-casual listeners to access. Even as Bjork's work continues its journey through more atmospheric terrain, there's usually three tracks minimum I enjoy. That said, it's a far cry from her more accessible works from Debut to Vespertine, & Volta. As always, who knows what direction she'll go in next.

I want Apple inc and iTunes to add music videos from utopia to Apple Music

(I was 12 when I found her), so though I can say that Björk soundtracked my childhood,I cannot say I’ve been a fan since the beginning. Anyways, this is probably my favorite album from hers. This album—very much like Joanna Newsom’s ‘Divers’—is a Shakespearean synthesis of life, love, pain, and losss....’Utopia’ is a creative headspace/rainforest I don’t ever want to leave

Every other album since Vespertine I check back in with the Icelandic waif of my dreams to see if she is ever going to come out of her melancholy slump and make some actual songs. Nope...not on this one either.

Hated this album. I think, over her past albums, Bjork balances quality and art very well, in that albums didn’t have their quality sacrificed by artistic sounds or stances. Here, on this album, it felt like a heaping mess of sound that seems as if it weren’t even meant for listening, but rather just admiring, like it should’ve been a painting rather than a song, and it felt truly unlistenable. That is the problem I have with this album, that these songs just don’t work as songs. They are hard to listen to, and they feel entirely tedious (especially Body Memory). Just couldn’t stand it and skipped the last couple. I love the flutes, and understood why she took this more uppity direction after Vulnicura, so it makes me sad that this album wasn’t more cohesive and fun to listen to. There is just way too much happening, and it unfortunately sacrifices the experience. I hoe she turns away from this heap of overdone sounds in her future work. 1 Star

Björk is her best when she’s all her. Whether howling from abysmal pain or trilling prismatic, gossamer, heaven-sent purrs of newfound bliss, her very best work is deeply personal, resounding with soul, heart & breathtaking beauty. She is profoundly sensitive, creative, (and yes, “dark”). It’s been a joy to experience her growth from fragile to bold, although Björk never seems to lose her enchanting vulnerability. One can hear, feel, her metamorphosis here from the dark, contemplative, & harrowing spiritually stagnant chrysalis of Vulnicura, which seems entirely influenced by the end of a pivotal relationship. Björk doesn’t hide the fact that she’s in love with love, is lost without it, has a deep need to feel protected & safe—desires most of us are all too familiar with. She encompasses pure femininity, embraces the wounded girl, loses herself in emotion, and it overflows via her lyrics and stunning visuals. I wouldn’t enjoy the music as much as I do without the visuals; Björk’s music is an immersive experience.

This album is amazing, unworldly, and completely worth your time.

After the concept album (Biophilia) and the raw breakup album (Vulnicura) a happier bjork is back. So far the singles and videos are definitely much more upbeat, and are showing healing, rebirth, and the return of love. The songs may still have some unusual structures and sounds, but who needs conventional music anymore. These songs are haunting, and yet deeply textured at the same time. Bjork is always true to herself, and this is art, not pop.