Zola Jesus, Modeselektor, and More Review Björk’s <i>Vulnicura</i>
zola-jesus-modeselektor-and-more-review-bjorks-vulnicura
February 11, 2015
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# Zola Jesus, Modeselektor, and More Review Björk’s Vulnicura
Last year, Electronic Beats published the first installments of a new
series that enlists members of music's so-called underground to sound
off on more mainstream pop releases. Former EB editor Lisa Blanning
spoke with Whitehouse and Cut Hands frontman William Bennett about Lady
Gaga's [*ARTPOP*][1]{: target="_blank"} and Lana del Rey's Ultraviolence, and in that same spirit, we've
recruited some of our favorite artists to listen through and submit
their reactions to Björk's eighth studio album *Vulnicura. *Hotflush
label head Scuba, pop experimentalist Zola Jesus (who [premiered a
track][2]{: target="_blank"} with us last week), Sebastian Szary, who
works with Gernot Bronsert as Modeselektor, PAN regular Heatsick, and
Leisure System label manager Aaron Gonsher all weigh in.
**SCUBA on *VULNICURA***
I was looking forward to *Vulnicura* more from a technical perspective
than a musical one. I've never totally connected with any of Björk's
previous work, so I was more excited by the idea of two very fresh
producers working with an established voice on a whole album, rather
than the common hip-hop trick of cramming a million hot new producers
onto a record. But after listening to it a few times, I found that the
most striking thing about *Vulnicura* isn't the production at all.
Actually, it's quite conventional in that respect, especially in the
treatment of the vocals, which I expected to be much more experimental.
Instead, the most arresting thing about the record is the almost
operatic nature of the form, and the intensely personal combination of
the lyrical narrative and Björk's performance. It reminds me strongly of
the experience of listening to the recording of an opera, because it
feels as if the visual aspect of the story is missing, which lends a
slight sense of awkwardness to the whole thing. The subject matter is
unambiguously painful, and it's laid bare in the minimal arrangements
and often monotonal vocal melodies. It's extremely bleak and there's
very little to divert attention away from that fact, which makes it a
difficult but ultimately rewarding listen---albeit one which feels
slightly incomplete.
MODESELEKTOR'S SEBASTIAN SZARY on VULNICURA
A new Björk album is a lot like a new album from Radiohead; there's
always some stuff on there you don't like, but more importantly there
are always impressive moments and ideas as well. Bjork is a charismatic
person, as is her music, and she has a good feel for collaborations and
getting the right people to work with her. Nearly two years ago, while I
was planning the first Modeselektion compilation, I asked Arca for a
track, but he declined because "he had something big coming up," as he
phrased it. I wouldn't be surprised if *Vulnicura*---not his
collaboration with Kanye West---was the big project he was referring to.
Bjork albums are plates, and it's best to hear them in a full length
format. And once you're done listening you might not want to hear it
again right away, because you need some time to digest what you've
heard. The whole thing is a challenge. That's one thing why Gernot and I
are always fascinated by Björk's music.
ZOLA JESUS on VULNICURA Björk has always been one of the greatest risk-takers
in music, but with *Vulnicura* we see her make one of her bravest steps.
To create something so deeply personal and raw, so unyielding in its
confession...it feels like the greatest risk of all. It's exciting to
witness an artist 30 years into her career make one of her boldest
records yet.
**LEISURE SYSTEM'S AARON GONSHER on *VULNICURA***
[SoundCloud Track (198435728)][3]{: target="_blank" rel="noopener
noreferrer"}
*Vulnicura* has the orchestral palette and trilling flourishes of a
classic Disney film, and Björk spends most of it considering her Prince
Charming. However, she diverts from the princess trope in one very
significant way: Björk is yearning and confused, true, but she never
falls into outright helplessness on par with an unconscious Sleeping
Beauty or voiceless Ariel. *Vulnicura* is a surpassingly haunting and
remarkably straightforward response to the disintegration of her
relationship with Matthew Barney, and the sheer power of her voice, as
well as a jolting appearance from Antony and Arca's amorphous influence,
infuses the album with a sense of hardiness few manage in the face of
such heartbreak. I don't know the specifics of what caused Björk's
marriage to collapse, but I don't envy Matthew Barney---how many of his
future flames will have heard *Vulnicura?* Hell hath no fury like a
woman scorned.
**HEATSICK on *VULNICURA***
[https://soundcloud.com/heatsick/re-engineering-villa-aurora-soundtrack][4]
There has been a lot of talk around the new Björk record, yet it hasn't
really been around the album itself. It's a breakup record concerning
her former partner Matthew Barney, and, let's be frank; people are
wondering if the artist will spill the juicy details. Having said that,
*Vulnicura* doesn't really sound like a breakup album---it just sounds
like a Björk album. She has now done so many records and established
herself to the extent that it's quite hard for it to sound like anyone
else. That's a positive thing, though.
I'll admit that I haven't really followed Björk's work since
*Homogenic*. There are moments where the lush strings on *Vulnicura*
remind me of songs like "Hunter" or "Jóga." The first half of the album
has more strings, while the second sounds more electronic and, for me at
least, engaging. The record's general subdued atmosphere reminds me of
"The Marble Index" by Nico. I've been listening to *Vulnicura* a lot
while driving around on the coastal highway, and it makes me feel like
I'm in a cinema.
[1]: http://www.electronicbeats.net/features/conversations/live-for-the-applause-william-bennett-and-lisa-blanning-on-lady-gagas-artpop/
[2]: http://www.electronicbeats.net/features/interviews/zola-jesus-reveals-compass/
[3]: https://api.soundcloud.com/tracks/198435728
[4]: https://soundcloud.com/heatsick/re-engineering-villa-aurora-soundtrack
---
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blueprint: article
title: 'Zola Jesus, Modeselektor, and More Review Björk’s <i>Vulnicura</i>'
date: 2015-02-11T16:47:04+01:00
wp_id: '87839'
slug: zola-jesus-modeselektor-and-more-review-bjorks-vulnicura
teaser_image: legacy/zola-jesus-modeselektor-and-more-review-bjorks-vulnicura/VulnicuraBjork_ElectronicBeats_700.jpg
contents:
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type: text
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<p>Last year, Electronic Beats published the first installments of a new series that enlists members of music’s so-called underground to sound off on more mainstream pop releases. Former EB editor Lisa Blanning spoke with Whitehouse and Cut Hands frontman William Bennett about Lady Gaga’s <a href="http://www.electronicbeats.net/features/conversations/live-for-the-applause-william-bennett-and-lisa-blanning-on-lady-gagas-artpop/" target="_blank"><em>ARTPOP</em></a> and Lana del Rey’s <em><a href="http://www.electronicbeats.net/features/conversations/william-bennett-and-lisa-blanning-on-lana-del-reys-ultraviolence/" target="_blank">Ultraviolence</a>, </em>and in that same spirit, we’ve recruited some of our favorite artists to listen through and submit their reactions to Björk’s eighth studio album <em>Vulnicura. </em>Hotflush label head Scuba, pop experimentalist Zola Jesus (who <a href="http://www.electronicbeats.net/features/interviews/zola-jesus-reveals-compass/" target="_blank">premiered a track</a> with us last week), Sebastian Szary, who works with Gernot Bronsert as Modeselektor, PAN regular Heatsick, and Leisure System label manager Aaron Gonsher all weigh in.</p><p><strong>SCUBA on <em>VULNICURA</em></strong><br>
I was looking forward to <em>Vulnicura</em> more from a technical perspective than a musical one. I’ve never totally connected with any of Björk’s previous work, so I was more excited by the idea of two very fresh producers working with an established voice on a whole album, rather than the common hip-hop trick of cramming a million hot new producers onto a record. But after listening to it a few times, I found that the most striking thing about <em>Vulnicura</em> isn’t the production at all. Actually, it’s quite conventional in that respect, especially in the treatment of the vocals, which I expected to be much more experimental.</p><p>Instead, the most arresting thing about the record is the almost operatic nature of the form, and the intensely personal combination of the lyrical narrative and Björk’s performance. It reminds me strongly of the experience of listening to the recording of an opera, because it feels as if the visual aspect of the story is missing, which lends a slight sense of awkwardness to the whole thing. The subject matter is unambiguously painful, and it’s laid bare in the minimal arrangements and often monotonal vocal melodies. It’s extremely bleak and there’s very little to divert attention away from that fact, which makes it a difficult but ultimately rewarding listen—albeit one which feels slightly incomplete.</p><p><strong>MODESELEKTOR’S SEBASTIAN SZARY on <em>VULNICURA<br>
<a href="http://www.electronicbeats.net/app/uploads/2015/02/Modeselektor.jpg"></a></em><br>
</strong><br>
A new Björk album is a lot like a new album from Radiohead; there’s always some stuff on there you don’t like, but more importantly there are always impressive moments and ideas as well. Bjork is a charismatic person, as is her music, and she has a good feel for collaborations and getting the right people to work with her. Nearly two years ago, while I was planning the first Modeselektion compilation, I asked Arca for a track, but he declined because “he had something big coming up,” as he phrased it. I wouldn’t be surprised if <em>Vulnicura</em>—not his collaboration with Kanye West—was the big project he was referring to. Bjork albums are plates, and it’s best to hear them in a full length format. And once you’re done listening you might not want to hear it again right away, because you need some time to digest what you’ve heard. The whole thing is a challenge. That’s one thing why Gernot and I are always fascinated by Björk’s music.</p><p><strong>ZOLA JESUS on <em>VULNICURA</em><br>
<a href="http://www.electronicbeats.net/features/interviews/zola-jesus-reveals-compass/"></a><br>
</strong>Björk has always been one of the greatest risk-takers in music, but with <em>Vulnicura</em> we see her make one of her bravest steps. To create something so deeply personal and raw, so unyielding in its confession…it feels like the greatest risk of all. It’s exciting to witness an artist 30 years into her career make one of her boldest records yet.</p><p><strong>LEISURE SYSTEM’S AARON GONSHER on <em>VULNICURA</em></strong></p><p><a href="https://api.soundcloud.com/tracks/198435728" target="_blank" rel="noopener noreferrer">SoundCloud Track (198435728)</a></p><p><i>Vulnicura</i> has the orchestral palette and trilling flourishes of a classic Disney film, and Björk spends most of it considering her Prince Charming. However, she diverts from the princess trope in one very significant way: Björk is yearning and confused, true, but she never falls into outright helplessness on par with an unconscious Sleeping Beauty or voiceless Ariel. <i>Vulnicura</i> is a surpassingly haunting and remarkably straightforward response to the disintegration of her relationship with Matthew Barney, and the sheer power of her voice, as well as a jolting appearance from Antony and Arca’s amorphous influence, infuses the album with a sense of hardiness few manage in the face of such heartbreak. I don’t know the specifics of what caused Björk’s marriage to collapse, but I don’t envy Matthew Barney—how many of his future flames will have heard <i>Vulnicura?</i> Hell hath no fury like a woman scorned.</p><p><strong>HEATSICK on <em>VULNICURA</em></strong></p><p><a href="https://soundcloud.com/heatsick/re-engineering-villa-aurora-soundtrack">https://soundcloud.com/heatsick/re-engineering-villa-aurora-soundtrack</a><br>
There has been a lot of talk around the new Björk record, yet it hasn’t really been around the album itself. It’s a breakup record concerning her former partner Matthew Barney, and, let’s be frank; people are wondering if the artist will spill the juicy details. Having said that, <em>Vulnicura</em> doesn’t really sound like a breakup album—it just sounds like a Björk album. She has now done so many records and established herself to the extent that it’s quite hard for it to sound like anyone else. That’s a positive thing, though.<strong><em><br>
</em></strong></p><p>I’ll admit that I haven’t really followed Björk’s work since <em>Homogenic</em>. There are moments where the lush strings on <em>Vulnicura</em> remind me of songs like “Hunter” or “Jóga.” The first half of the album has more strings, while the second sounds more electronic and, for me at least, engaging. The record’s general subdued atmosphere reminds me of “The Marble Index” by Nico. I’ve been listening to <em>Vulnicura</em> a lot while driving around on the coastal highway, and it makes me feel like I’m in a cinema.</p>
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Chunk #1 (Position: 0)
# Zola Jesus, Modeselektor, and More Review Björk’s Vulnicura Last year, Electronic Beats published the first installments of a new series that enlists members of music's so-called underground to sound off on more mainstream pop releases. Former EB editor Lisa Blanning spoke with Whitehouse...
Chunk #2 (Position: 1)
# Zola Jesus, Modeselektor, and More Review Björk’s Vulnicura Last year, Electronic Beats published the first installments of a new series that enlists members of music's so-called underground to sound off on more mainstream pop releases. Former EB editor Lisa Blanning spoke with Whitehouse...
Chunk #3 (Position: 2)
I've never totally connected with any of Björk's previous work, so I was more excited by the idea of two very fresh producers working with an established voice on a whole album, rather than the common hip-hop trick of cramming a million hot new producers onto a record. But after listening to...
Chunk #4 (Position: 3)
The subject matter is unambiguously painful, and it's laid bare in the minimal arrangements and often monotonal vocal melodies. It's extremely bleak and there's very little to divert attention away from that fact, which makes it a difficult but ultimately rewarding listen---albeit one which feels...
Chunk #5 (Position: 4)
The whole thing is a challenge. That's one thing why Gernot and I are always fascinated by Björk's music. ZOLA JESUS on VULNICURA Björk has always been one of the greatest risk-takers in music, but with *Vulnicura* we see her make one of her bravest steps. To create something so deeply personal ...
Chunk #6 (Position: 5)
It's exciting to witness an artist 30 years into her career make one of her boldest records yet. **LEISURE SYSTEM'S AARON GONSHER on *VULNICURA*** [SoundCloud Track (198435728)][3]{: target="_blank" rel="noopener noreferrer"} . *Vulnicura* has the orchestral palette and trilling flourishes...
Chunk #7 (Position: 6)
I don't know the specifics of what caused Björk's marriage to collapse, but I don't envy Matthew Barney---how many of his future flames will have heard *Vulnicura?* Hell hath no fury like a woman scorned. **HEATSICK on *VULNICURA*** [https://soundcloud.com/heatsick/re-engineering-villa-aurora-so...
Chunk #8 (Position: 7)
The record's general subdued atmosphere reminds me of "The Marble Index" by Nico. I've been listening to *Vulnicura* a lot while driving around on the coastal highway, and it makes me feel like I'm in a cinema. [1]: http://www.electronicbeats.net/features/conversations/live-for-the-applause...