Oh, wound!

The new album of Bjork “Vulnicura” is a sink of criticism as the most intimate and frank statement by the singer over the past ten years, like the diaries of her broken heart, written in blood. This is what Bjork herself would like to read in the world press about the work dedicated to her gap with a long -term partner, artist Matthew Barney, who is famous for films saturated with images and metaphors. The singer gave reporters more than one hint on this score - in the accompanying note on Facebook, the singer calls the “Vulnicura” “Complete Heartbreak Album” , documenting the process of the appearance of the wound and its healing. The name "Vulnicura" comes from Latin vulnus - i.e. "wound". On the cover of the record, the singer-as usual, in some way the avant-garde and fantastic-reveals to the listeners his chest cage, exposing not quite human anatomy. In an interview with PitchFork , a 49-year-old woman who grew up in an incomplete family sighs melodramatically when it comes to family and children-she almost breaks into tears.

Yes, we already understood - Bjork was very painful when she wrote Vulnicura . We are condolenced, and, of course, not in such a situation in such a situation to discuss the shortcomings of the recording, but, alas, “Vulnicura” is the weakest album in Bjork discography, oddly enough, precisely because he is not visible to a person-a suffering woman. This plate, more similar to a pack of graphs issued by the self-writer of the device, which has lost their settings, sounds too much. If you read “Vulnicura” as a book, then these songs are in no way like intimate diaries, notes at the head of the head, this is rather a chronicle of a scientific experiment set by a wounded anthropologist. The singer never got out of the role of a brilliant scientist from pop music after the previous Biophilia album, which was not only an excellent plate, but also an interactive multimedia application on I PAD , and a non-standard children's educational program, and a grandiose traffic scientist.

At the Biophilia, the Icelandic singer, who began with punk provocations, got as close as possible to one of her personal idols, the avant-garde at the Karlhainets Stockhausen, about whom he said "was obsessed with the sacrament of music with science." Bjork, who always treated pop music with the spontaneity of a child who is amused with the designer , studied with the naive attentiveness of the cell, then the growth of the crystal, then the map of the starry sky above her head-and this worked perfectly with naive attentiveness. On “Vulnicura”, Bjork mechanically transfers this scientific approach found on the previous plate, to his own drama - on a storm in the soul of a woman during an emotional crisis. She simultaneously tries to be a professing patient and a doctor who impassively analyzing confession, but cannot grab a balance, which turns the plate into a decaying set of dreary ballads, in which Bjork abuses with expressions like “synchronize feelings” and “find joint coordinates”. The singer once knew how to choose the exact words for the most secret movements of the soul-remember the album “Vespertine” , but then she suddenly sang like a woman-robot from the most famous video clip with her participation , only the crying string and scraping electronics-the current soundtrack, to which the singer sets out the chronicle of a personal catastrophe, does not add to songs of emotional reliability. “Vulnicura” lacks a sense of harmony with which Bjork had previously managed to combine the incompatible-vital voice and laboratory electronics, avant-garde techniques and pop-sensitivity, primitive tribal rhythm and the thinnest we codes of microsaulus. But this can be understood: a storm in the soul, what harmony here.

Only a choir is missing, who echoed the singer with a menacing echo: “Oh, about grief, grief!”

On this clearly crisis, lame plate there are spectacular songs: the duet with Anthony Hegarty “Atom Dance” is an exquisite dance of two unique voices. The final “Quicksand” , driven out by the futuristic Break-Break of the London Venezuelangian Arca (he replaces another major loss of Bjork, producer Mark Bell on this record), her personal version “I Will Survive” , which the singer wrote (is she from the legend of “Vulnicura” As about the diaries of a broken heart) chronologically the first for a plate: it happened four years ago, after a serious illness of the mother. The essence is the acute stone bottom of the album is hidden under the dark waters of the 10-minute composition “Black Lake” , where Bjork publicly gets scores with her daughter Isador Matthew Barney, methodically applying his imaginary cuts, as in a love scene from a joint film “Draining Restraint 9” , shot during the height of them relationships. Black Lake sounds almost like a comos from the Greek tragedy; Under the heartbreaking sound row, the singer, who will soon be honored with the personal exhibition in the New York Moma , is painfully wall: “I really loved you too much?” And “the family has always been our sacred joint mission that you failed”-and there is only a choir that Bjork echoed: “Oh, about grief, grief!” An impartial observer analyst would say that an attempt to assign responsibility for the collapse of a family project on one side is a subjective assessment of the situation. But, no matter what Bjorka wrote on Facebook, Black Lake , like the entire Vulnicura album, is not a session of healing self -therapy, this is an attempt to inflict the wound deeper than the offender.

And this can also be understood-as Bjork once sang, this is so human .

Album Bjork " Vulnicura " is already on sale on iTunes