Björk - Six Songs From Vespertine album flac

Vespertine is the fourth studio album by Icelandic recording artist Björk. It was released on 27 August 2001 in the United Kingdom by One Little Indian Records and in the United States by Elektra Entertainment. Production on the album began during the filming of Dancer in the Dark, which was characterized by conflict between the singer and director Lars von Trier

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An Advance Album Sampler". Released on Polydor label, but the label logo is not printed. Standard jewel case with clear tray; thick cardstock front insert only - no back inlay. Matrix, Runout: VESP1 02 5. Mastering SID Code: IFPI L135. Mould SID Code: IFPI 04A9.

Vespertine had more influence from classical music than Björk's previous techno-oriented albums had, but the arrangers here set themselves the task of using no electronic instruments. To this end, they included such novel instruments as an African pumpkin, glass, and sandwich wrapping paper into the orchestra. The result is a set of unique, subtle orchestral textures that's done full justice by the German label Oehms, whose care with the sound goes a long way toward making the project work

Björk’s Vespertine, released in August 2001, may be the first (and last) album written for the Napster age. With her fifth studio release, and coming off the expansive, futuristic Homogenic, Björk set out to make an intimate album of micro-beats and minimalist production. It was the kind of production that would lose none of its force when downloaded from the file-sharing sites flourishing at the time. Björk, Alone in the Dark: I use micro-beats, a lot of whispery vocals, which I think sound amazing when they’re downloaded because of the secrecy of the medium. She would create 80% of the Vespertine instrumentals herself, while the lyrics moved toward exploring greater depths of sex,love, and hibernation.

Vespertine was an autobiographical concept album about an episode of intimacy in the singer's life. Yet the team of Jan Dvořák, Peter Häublein, and Roman Vinuesa who adapted Björk's music for the Orchestra of Nationaltheater Mannheim faced serious challenges. Vespertine had more influence from classical music than Björk's previous techno-oriented albums had, but the arrangers here set themselves the task of using no electronic instruments.

Both cohesive and inconceivably modern, Homogenic sounded like the future-music of childhood dreams. While undeniably beautiful, Vespertine fails to give electronic music the forward push it received on Björk's preceding albums. Rather than designing sounds never before imagined, the album merely sounds current, relying on the technology of standard studio software and the explorations of the Powerbook elite

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