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Medulla Import

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Page Artiste Björk


Détails sur le produit

  • CD (31 août 2004)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B0002JUXB0
  • Autres versions : CD  |  Album vinyle
  • Moyenne des commentaires client : 5.0 étoiles sur 5 2 commentaires client
  • Classement des meilleures ventes d'Amazon: 394.615 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Pleasure Is All Mine
  2. Show Me Forgiveness
  3. Where Is The Line
  4. Vokuro
  5. Oll Birtan
  6. Who Is It
  7. Oceania
  8. Submarine
  9. Sonnets/Unrealities XI
  10. Desired Constellation
  11. Ancestors
  12. Mouths Cradle
  13. Mivikudags
  14. Triumph Of A Heart


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Par Petrus Comestor TOP 500 COMMENTATEURSVOIX VINE le 8 novembre 2009
Format: CD
Medulla en anglais signifie "moelle". Cela vous le saviez.
Ce que vous ne saviez pas, c'est ce que Björk peut faire et composer pour la moelle de la musique.
Que font les tribus sans instrument, que faisaient-elles avant la flûte, le tambour, la lyre?
Dépouillement absolu. Seulement la voix, des voix (Le Choeur Islandais, les percussions labiales et vocales époustouflantes de Razel, l'usage des respirations), et sur "Desired Constellation", un synthé très discret pour donner une ambiance cristalline et d'une douceur infinie.
Le synthé réapparaît sur "Mouth's cradle". Quelques notes de piano, ou un trombone ...humain.

Alors bien sûr, Björk va extrêmement loin dans les expérimentations, certains trouveront tel titre polyphonique mal composé (!), faux. Elle connaît la musique Björk, c'est la liberté, et elle a sûrement écouté la musique dodécaphonique, et certains chants japonais shintoïstes. Cela reste cependant très doux. L'atmosphère de l'album est tantôt floconneuse, tantôt liquide, tantôt de cristal. Le lyrisme n'est pas absent, et on a droit en prime à un chant islandais médiéval "Vokuro".
Lire la suite ›
Remarque sur ce commentaire 4 sur 4 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par Viny le 29 juillet 2004
Format: CD
Ce disque est magnifique. L'adaptation vocale de "where is the line" est surprenante. "Desired Constellation" est paisiblement féérique. "Mouth Cradle" est une chanson qui se laisse langoureusement écouter. "Oceania" allie profondeur et énergie... seul regret, l'absence de "nameless"...
Remarque sur ce commentaire 1 sur 2 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x91840a8c) étoiles sur 5 415 commentaires
73 internautes sur 87 ont trouvé ce commentaire utile 
HASH(0x9190c3c0) étoiles sur 5 Mouth music 1 septembre 2004
Par E. A Solinas - Publié sur Amazon.com
Format: CD
Ever heard of mouth music? It's a traditional technique for producing music with nothing except rhythmic vocals -- literally, just music from the mouth. Quirky Icelandic Bjork isn't a Celt, but she takes the term "mouth music to new heights in the enchantingly challenging "Medulla," an album whose music is based on the voice.

Bjork embarks on her strangest and most experimental musical journey here. Not just one kind of song, but many -- majestic medieval-flavored music to pop to hymns to an eerie vocal ballad backed by throat singing. Bjork even beatboxes with a choir behind her, giving a sort of classical hip-hop sound to the music. Can't get that just anywhere.

"Medulla" isn't entirely devoid of instrumentation... the non-vocal variety, that is. There's a pretty piano solo to "Ancestors," and the deep bassline of "Submarine." Keyboards pop up occasionally But those are the exception -- most of the time it's Bjork's soft vocals, singing, grunting, whistles, and various gutteral sounds -- sort of a dolphin-on-acid noise. It's wonderfully weird.

After the pretty but vaguely monotonous "Vespertine," Bjork just bursts out with her new sound. What's strangest is the effect it has when one is listening to it -- it's powerful and visceral, lulling you one moment and making you shiver the next. At times it's unnerving -- the grunts range from sexy to ghastly, and are enough to make you squirm -- but it never fails to provoke a response.

"Medulla" isn't a full departure from her past material. The opening number has echoes of "Vespertine," while "Where is the Line" hints at "Homogenic." But the heart and soul of "Medulla" rests in an entirely new zone, far away from the icy grandeur of her past trip-hop. This is a darker, thicker sound, backed by Robert Wyatt's odd vocals and a choir.

Bjork proves again that she is an artist in every sense of the word -- she doesn't just make wonderful music, but she explores into new and thrilling musical arenas. Revolutionary, sultry, and a jolt to the system.
20 internautes sur 23 ont trouvé ce commentaire utile 
HASH(0x9190c63c) étoiles sur 5 Bjork does it again and is sure to wow her fans 8 septembre 2004
Par Christina M. Anthony - Publié sur Amazon.com
Format: CD
I wasn't sure if I would enjoy this CD or not after hearing a few tracks on the radio before it was released. The idea of having an entire album composed of only human voices is intriguing, but in all reality would it *really* work? I believe it did.

Only Bjork could pull off an album of this magnatude and she does it with compelling grace. Often times you forget that you're only listening to human voice at all (Where Is The Line, Who Is It) and other times you are fully aware in acapella pieces. One can only be fascinated in the way that human vocals are cut and blended to sound like musical instruments. Vokuro is perhaps one of my favorite tracks on the CD so far. It is simply Bjork singing with only a hushed choir in the background and completely in Icelandic, but has an extremely beautiful melody. Oceania is a wonderful work also, which was recently heard at the Olympics. The background vocals are amazing with the shrilling ups and downs of their voices, it sounds as though they really are some sort of ocean creature swooping up and down through the water.

I can see this CD as either being fully embraced by fans or have them wondering what the heck they just purchased. If you are looking for a CD that sounds more like Homogenic or Post,then Medulla is not for you. There really aren't many songs on Medulla (if any) that possess the types of beats or mainstream sounds as her other works. I do recommend it if you have an open mind about her music and appreciate her work for the creativity and art of it. The only reason this CD did not get 5 stars is because, like most fans, I do miss having great songs like Bachelorette, Joga, Human Behavior, etc.
11 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x9190cabc) étoiles sur 5 A radical and daring departure from Vespertine 31 août 2004
Par Pushing The Pedals - Publié sur Amazon.com
Format: CD
I received this album through a presale from Bjork's record label website. In this first week, I have listened to the album a total of 31 times according to iTunes. I must say that I was initially disappointed with the acapella sound of the album. However, this album has really grown on me. I start to forget that the "instruments" that I'm hearing are really all human voices. Some notable tracks are 'Who is it', 'Where is the line', 'Mouth's Cradle', 'Show me forgiveness' and 'The pleasure is all mine.'

There is only really one song that I still do not like, and that is 'Ancestors' It starts out beautifully, with layers of Bjork's beautiful voice building up on one another, and then in comes the sound of what seems to be a dog choking. I have begun to be able to tune that part out with enough listens, but it still remains as a sore spot on the album.

I would highly recommend this album to the casual and hardcore Bjork fan. Every one of Bjork's albums has been so different, and this is probably the most conceptual album she has produced so far. It may take a few listens to appreciate fully, at least it did for me. Now I love the album. Thumbs up to Bjork!
15 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x920fa2ac) étoiles sur 5 Easily Bjork's most difficult, yet arguably the best. 2 septembre 2004
Par Jonathan Vanasse - Publié sur Amazon.com
Format: CD
If you had guessed that I would make the argument I mentioned in the title of my review, you were completely right. As a very young music fan (not yet out of my teens), some might be quick to dismiss my opinion. After all, I'm a supple young branch that bends in the wind, right? A childish upshoot that goes for the newest, coolest thing? Well, that may be.

However, ever since music and I really hit it off back in 93' (I was eight and couldn't get enough of Pearl Jam, Zeppelin, and Floyd), I have slowly lost interest in very many musical forms and fashions. Rock regularly regurgitates what it has already done thousands of times during the last year, although occasionally artists like Beck or Radiohead really break the mold and push into new territory. Pop has become a complete cess pool of hip hop or uninspired ballads, despite brilliance from the likes of Outcast, Black Eyed Peas, and the aforementioned Beck. Most other forms of music are so out of the mainstream that it is difficult to afford the passion for them. However, Bjork has always been my solace. At first glance her music seems to be a mere confluence of every imaginable musical style, but had the quality of immediate freshness. Like coming home to a house drowning in Febreeze, you could simply inhale Bjork.

This was always a source of wonder for me. Of course I had always loved Bjork's voice, but have difficulty now believing that I did not realize at that time what I now know. Although the music itself was inventive to no end, it was always Bjork's voice that truly set her apart. When Scott Weiland growls, I roll my eyes at the skinny goon. Yet a growl from Bjork could restart the nuclear reactions in the heart of a dead star. A recipe for an album only requires Bjork and the gutteral explosions of Rahzel or the willowy croon of Robert Wyatt. You don't NEED instuments with any combination of these three remarkable artists, and thankfully, "Medulla" does not use any.

"Where is the Line" is a particularly outstanding example of the sheer versatility of the human voice, with Rahzel laying out a schizophrenic rhythm and Bjork hovering just above the surface. There are no power chords, snare drums, or vocoders to distance the listener from pure human expression. The minor computer modification on other songs, such as "Mouth's Cradle" and possibly "Oceania", always adds subtly, and never overtly.

For the guitar weary, the studio weary, and the art hungry, Bjork has created more than the album. Coming from a teen like me, it may not mean much, but she has created what is to me as precious as the Gregorian chants or Handel's Messiah in capturing the human voice at it's best.
12 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0x919361f8) étoiles sur 5 Some breathtaking work from music's most innovative artist 26 juillet 2005
Par zaera-11 - Publié sur Amazon.com
Format: CD
Pleasure Is All Mine [10/10]: A beautiful and understated way to start the album. Medulla's principal performers - Tagaq, Rahzel, The Icelandic Choir, Mike Patton, and of course, Bjork - are quietly introduced in a tightly formed song with a dark, highly sensual tone. Never one to take the easy route, Bjork injects three breaks of varying length in the track - beginning, middle, and end - featuring some great vocal layering between her and Tagaq (who's breathing works really well here). This track is strong on it's own, without these interludes, but Bjork's re-structuring demonstrates why she has continued to produce such fresh and inspiring work. PIAM is second only to Vespertine's "An Echo, A Stain" as the sexiest song she's made, in my opinion. The lyrics are quite inspirational as well. It's fascinating the way she can make a song that is dark, warm, cool, sexual, romantic, and nurturing all at once. This track perfectly captures the essence of the album - it truly does sound like it's made of a black ink-like liquid.

Show Me Forgiveness [6/10]: A capella Bjork. On first listen, I found the melody too disorienting. But after a couple of listens - especially when she hums the tune in the second half - it becomes clearer and more compelling.

Where Is the Line [8/10]: How do I describe this one? Maybe a cross between a capella heavy metal and the soundtrack to the Omen. It's certainly bold and curiously fascinating. I'm just having a hard time knowing what to do with this track. Though I will say that this track really kicks a** when played loudly on a good sound system! Having read some of the other reviews, it's interesting to see how many people seemed to instantly love this track. Usually I am able to find some really wonderful settings or contexts in which to listen to a particular Bjork song or album. For example, Vespertine is a great soundtrack for when I'm hanging around the house on the weekend or taking a walk some place with a lot of vegetation. I'm not sure what setting would work with this song ... some place with very little light; near a blazing fire; who knows? It could probably work really well performed live. I do like that part after the whistling, when Mike Patton and/or Gregory Purnhagen go nuts, Bjork's vocal distorts, and later, Rahzel makes some heavy pulsating sounds.

Vokuro [9.5/10]: Absolutely gorgeous. This song nearly brought tears to my eyes the first time I listened to it. The choral arrangement of this Jorunn Vidar piece is powerful and timeless.

Oll Birtan [9/10]: Performed by several Bjork vocal layers. Much more earthbound than Vokuro, but nonetheless quite gorgeous after a few listens. I picture a girl running through a field, perhaps on her way to school or passing a small chapel.

Who Is It [10/10]: Yeah!!!!!!! This song is totally sublime!!!!!!!! It's Bjork at her avant-pop best - at the top of her game. She and Rahzel make a terrific pair. Some elements of the song that deserve the highest praise: (a) Bjork's ability to create a great pop song. Who else is able to convey such a pure joy? Her bass synth (and Patton's performance of it) is wicked too. (b) Rahzel, Rahzel, Rahzel!! This song definitely utilizes his amazing beatboxing talents best. He is absolutely integral to the song. Even if he hadn't performed this track in one take (as Bjork noted in an interview), his work would still be amazing here. He deserves credit for creating in this song what are probably Bjork's best beats in all of her work. (c) Bjork's vocal delivery on this track is really solid. One of the problems with some of her best pop songs is that the strength and nuance of her voice gets somewhat undermined by the instrumentation/electronics (examples: Hyperballad, Possibly Maybe [album version], Alarm Call). Although the song is fairly straightforward in terms of Bjork's vocal, she does a great job here, and the engineers/programmers got the balance just right here. (d) Those chords comprised of Bjork vocals that sound like some old pipe organ or something. They're the icing on the cake.

Submarine [8/10]: Robert Wyatt's collaboration with Bjork. Wyatt has such an incredible voice - it's reedy, vulnerable, old, watery, all at once. I'm glad that Bjork allowed him to sing most of the song. (I get so tired of the traditional duet - you know, the kind that Celine Dion loves - in which it serves as a lame excuse to feature stars who pretend to be in love or whatever.) This is a very intriguing a capella piece. It's mostly Wyatt singing here, until there's a sudden 30-second outburst by Bjork about half way through the song. It's an interesting touch.

Desired Constellation [10/10]: Wow. This is a masterpiece. This is easily one of the best songs Bjork has ever made. Everything about this track works exquisitely: (1) Bjork's vocal is very strong, very simple, but it's one of her best deliveries. She's very confident here. She sings the same line over and over again, but she does it so well that you want to keep hearing the small changes she makes each time. She's so comfortable that she occasionally adds a heartbreaking sustained note in between this repeated line - a sign of how incredibly generous she is to this song. She must know what a gem she's created here. (2) Her collaborations with Olivier Alary/Ensemble are truly remarkable. Because their previous collaborations - Sun in My Mouth (recomposed) and Coccon (retangled) - were both remixes, the one ingredient missing from them was Bjork's direct response to the music (though they are still two of her best remixes). Here we see how well she works with Alary's soft, distorted, free form meanderings. It's also nice to hear an electronic composition that is bare enough to allow the listener to catch the subtlety of Bjork's voice. Truly stunning.

Oceania [10/10]: Breathtaking ... another of Bjork's best compositions to date. The second I heard the first choral sweep arpeggio I was swept off into this gorgeous aquatic landscape. Again, Bjork's vocal delivery is ace. And Sjon's lyrics ... they're some of the most beautiful I've heard in years! I'm serious!! Bjork could not have created a better song for the Athens Olympics.

Sonnets/Unrealities XI [8.5/10]: This is a nice adaptation of E. E. Cummings. Bjork's abilities with choral arrangements are becoming really impressive. This would make a good side project for her: adapting a series of E. E. Cummings poems. Along with Vespertine's "Sun in My Mouth" and the b-side "Mother Heroic", she's now made three very good ones.

Ancestors [7.5/10]: Hmm ... It's been a year since the album was released and I'm still not quite sure what to make of this one. I do admire Bjork for including this on the album because she clearly appreciates the work of Tagaq. It's also admirable that she has the confidence to include this in the same record that has some very catchy pop songs. The last minute of the track is absolutely amazing - it's very primal. The final collaborative breath between the two women is devasting.

Mouth's Cradle [9.5/10]: This song really grew on me. It has a very ancient, primitive sound to it - very heavy, muddy, creature-like. The choral arrangement is spot-on here. All the vocal layers work especially well together in this composition.

Midvikudags [9/10]: Another gorgeous all-Bjork vocal arrangement. Has a very vernacular yet accessible feel. Some of her vocal layers sound very flute-like.

Triumph of a Heart [6/10]: A somewhat disappointing way to end this stunning record. This song already has many fans on Amazon, but I definitely can't say that it's one of my favorites on this album. In fact, I find it a little disappointing because, basically, all the elements are there, but it just doesn't quite work as well as it should. A couple of reasons I think this might be the case: (1) It just doesn't have a very catchy melody/chorus (not that every Bjork track needs one, but this track should have one). This song isn't nearly as downright funky as "Who Is It". (2) It sounds too faux-electronic. On all the other tracks, it is clear that Bjork's intent was not simply to replace instruments with human voices; here that distinction is not as apparent. As I said, many of the isolated elements are pretty good fun: Dokaka and Rahzel do a great job on their own, but the song is just not quite there to support them.

Overall, this is an incredibly bold statement from the ever-courageous Bjork. This is the first record I've ever heard that truly brings to mind such things as blood, wood, ink, mud, bones, and flesh, among other things. Not only that, Bjork is at the top of her game on some of these tracks, both as a composer and singer. The production really brings out the fascinating timbres in her voice. Bjork deserves enormous applause for her tireless exploration of musical boundaries.
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