Björk ‎– Medúlla

Label:
Elektra ‎– 62984-2
Format:
CD, Album
Country:
Released:
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Tracklist Hide Credits

1 Björk, Tagaq*, Mike Patton with The Icelandic Choir Pleasure Is All Mine
Alto Vocals – Anna Hinriksdóttir, Arngerður María Árnadóttir, Aðalheiður Þorsteinsdóttir, Guðrún Edda Gunnarsdóttir, Guðrún Finnbjarnardóttir, Jónína Guðrún Kristinsdóttirþ*Bass [Bass Line] – BjörkBass Vocals – Benedikt Ingólfsson, Hafsteinn Þórólfsson, Hjálmar Pétursson, Örn Arnarson, Þorvaldur ÞorvaldssonGong – Peter Van HookeHuman Beatbox [Beats] – RahzelProgrammed By [Programming] – Björk, Mark Bell, Valgeir Sigurdsson*Soprano Vocals – Elfa Ingvadóttir, Hera Björk Þórhallsdóttir*, Hugrún Hólmgeirsdóttir, Inga Harðardóttir, Kirstín Erna BlöndalTenor Vocals – Björn Thorarensen, Guðmundur Vignir Karlsson, Gísli Magna, Þorbjörn SigurðssonWritten-By – Björk
3:26
2 Björk Show Me Forgiveness
Written-By – Björk
1:23
3 Björk, Mike Patton, Gregory Purnhagen with The Icelandic Choir Where Is The Line
Alto Vocals – Anna Hinriksdóttir, Arngerður María Árnadóttir, Aðalheiður Þorsteinsdóttir, Guðrún Edda Gunnarsdóttir, Guðrún Finnbjarnardóttir, Jónína Guðrún Kristinsdóttirþ*Bass Vocals – Benedikt Ingólfsson, Hafsteinn Þórólfsson, Hjálmar Pétursson, Örn Arnarson, Þorvaldur ÞorvaldssonCo-producer – Mark BellHuman Beatbox [Beats] – RahzelProgrammed By [Programming] – Björk, Little Miss Specta, Mark Bell, Valgeir Sigurdsson*Soprano Vocals – Elfa Ingvadóttir, Hera Björk Þórhallsdóttir*, Hugrún Hólmgeirsdóttir, Inga Harðardóttir, Kirstín Erna BlöndalTenor Vocals – Björn Thorarensen, Guðmundur Vignir Karlsson, Gísli Magna, Þorbjörn SigurðssonWritten-By – Björk
4:41
4 Björk with The Icelandic Choir Vökuró
Alto Vocals – Anna Hinriksdóttir, Arngerður María Árnadóttir, Aðalheiður Þorsteinsdóttir, Guðrún Edda Gunnarsdóttir, Guðrún Finnbjarnardóttir, Jónína Guðrún Kristinsdóttirþ*Bass Vocals – Benedikt Ingólfsson, Hafsteinn Þórólfsson, Hjálmar Pétursson, Örn Arnarson, Þorvaldur ÞorvaldssonComposed By – J'orunn Vidar*Soprano Vocals – Elfa Ingvadóttir, Hera Björk Þórhallsdóttir*, Hugrún Hólmgeirsdóttir, Inga Harðardóttir, Kirstín Erna BlöndalTenor Vocals – Björn Thorarensen, Guðmundur Vignir Karlsson, Gísli Magna, Þorbjörn SigurðssonWritten-By – Jakobína Sigurdardottir
3:14
5 Björk Öll Birtan
Programmed By – BjörkWritten-By – Björk
1:52
6 Björk and Tagaq* Who Is It (Carry My Joy On The Left, Carry My Pain On The Right)
Human Beatbox [Beats] – RahzelProgrammed By [Programming] – Björk, Mark Bell, Matmos, Valgeir Sigurdsson*Synthesizer [Bass Synth] – BjörkWritten-By – Björk
3:57
7 Björk and Robert Wyatt Submarine
Co-producer – Mark BellProgrammed By [Programming] – Valgeir Sigurdsson*Written-By – Björk
3:13
8 Björk with The Icelandic Choir Desired Constellation
Alto Vocals – Anna Hinriksdóttir, Arngerður María Árnadóttir, Aðalheiður Þorsteinsdóttir, Guðrún Edda Gunnarsdóttir, Guðrún Finnbjarnardóttir, Jónína Guðrún Kristinsdóttirþ*Bass Vocals – Benedikt Ingólfsson, Hafsteinn Þórólfsson, Hjálmar Pétursson, Örn Arnarson, Þorvaldur ÞorvaldssonProgrammed By [Programming] – Olivier AlarySoprano Vocals – Elfa Ingvadóttir, Hera Björk Þórhallsdóttir*, Hugrún Hólmgeirsdóttir, Inga Harðardóttir, Kirstín Erna BlöndalTenor Vocals – Björn Thorarensen, Guðmundur Vignir Karlsson, Gísli Magna, Þorbjörn SigurðssonWritten-By – Björk, Olivier Alary
4:55
9 Björk with The London Choir Oceania
Choir [The London Choir] – Ann De Renais, Emma Brain-Gabbott*, Heather Chirncross*, Helen Hampton, Helen Pakker, Jaqueline Barron*, Janet Mooney, Jenny O'Grady, Judith Sim, Karen Woodhowe*, Kim Chandler, Melanie Marshall, Micaela Haslam, Nicki Kennedy, Rachel Chapman, Samantha Shaw, Sarah Eyden, Sarah Simmondi, Tarsha Colt, Yona DunsfordCo-producer – Mark BellHuman Beatbox [Beats] – ShlomoPiano – Nico MuhlyProgrammed By – Björk, Mark Bell, Valgeir Sigurdsson*Voice [Vocal Samples] – Robert WyattWritten-By – Björk, Sjón
3:24
10 Björk with The Icelandic Choir Sonnets / Unrealities XI
Alto Vocals – Anna Hinriksdóttir, Arngerður María Árnadóttir, Aðalheiður Þorsteinsdóttir, Guðrún Edda Gunnarsdóttir, Guðrún Finnbjarnardóttir, Jónína Guðrún Kristinsdóttirþ*Bass Vocals – Benedikt Ingólfsson, Hafsteinn Þórólfsson, Hjálmar Pétursson, Örn Arnarson, Þorvaldur ÞorvaldssonLyrics By – E.E. Cummings*Soprano Vocals – Elfa Ingvadóttir, Hera Björk Þórhallsdóttir*, Hugrún Hólmgeirsdóttir, Inga Harðardóttir, Kirstín Erna BlöndalTenor Vocals – Björn Thorarensen, Guðmundur Vignir Karlsson, Gísli Magna, Þorbjörn SigurðssonWritten-By – Björk
1:59
11 Björk and Tagaq* Ancestors
Piano, Programmed By [Programming] – BjörkWritten-By – Björk, Tagaq*
4:08
12 Björk and Tagaq* with The Icelandic Choir Mouth's Cradle
Alto Vocals – Anna Hinriksdóttir, Arngerður María Árnadóttir, Aðalheiður Þorsteinsdóttir, Guðrún Edda Gunnarsdóttir, Guðrún Finnbjarnardóttir, Jónína Guðrún Kristinsdóttirþ*Bass Vocals – Benedikt Ingólfsson, Hafsteinn Þórólfsson, Hjálmar Pétursson, Örn Arnarson, Þorvaldur ÞorvaldssonHuman Beatbox [Beats] – RahzelProgrammed By [Programming] – Björk, Mark Bell, Valgeir Sigurdsson*Soprano Vocals – Elfa Ingvadóttir, Hera Björk Þórhallsdóttir*, Hugrún Hólmgeirsdóttir, Inga Harðardóttir, Kirstín Erna BlöndalSynthesizer [Bass Synth] – Mark BellTenor Vocals – Björn Thorarensen, Guðmundur Vignir Karlsson, Gísli Magna, Þorbjörn SigurðssonWritten-By – Björk
3:59
13 Björk Midvikudags
Programmed By [Programming] – Björk, Jake DaviesWritten-By – Björk
1:24
14 Björk Triumph Of A Heart
Human Beatbox [Beats] – Dokaka, RahzelProgrammed By [Programming] – Björk, Mark Bell, Valgeir Sigurdsson*Voice [Human Trombone] – Gregory PurnhagenWritten-By – Björk
4:04

Companies, etc.

Credits

Notes

Atlantic Recording Corporation. A Warner Music Group Company. 1290 Avenue of the Americas, New York, NY 10104. ℗ © 2004 Atlantic Recording Corporation for the United States and WEA International Inc. for Canada. A Warner Music Group Company. All rights reserved. Printed in U.S.A. WARNING: Unauthorized reproduction of this recording is prohibited by Federal law and subject to criminal prosecution.

Sonnets/Unrealities XI:
The lines from: "It May Not Always Be So; And I Say" Copyright 1923, 1951, © 1991 by the Trustees for the E.E. Cummings Trust. Copyright © 1976 by George James Firmage, from "Complete Poems: 1904-1962" by E.E. Cummings, edited by George J. Firmage. Used by permission of Liveright Publishing Corporation.

All tracks published by Universal Music; except: "Desired Constellation," "Oceania," "Sonnets/Unrealities XI," "Ancestors," published by Universal Music/copyright control; and "Vökuró" under copyright control.

Studios
Greenhouse Studios, Reykjavik; Lost Island Studios, La Gomera; The Magic Shop, NYC; Looking Glass, NYC; Olympic Studios, London; Ilha Dos Sapos Studios, Salvador; Real World, Box. Additional mobile recording at: Palisades, New York; The Loft on 22nd Street, NYC; Praya Dos Lagos, Bahia; Palazzo Contarini, Venice; Louth, Lincolnshire.

Thank yous: Arto Lindsay, Alessandra Wallin at Ilha Dos Sapos Studios, Kara Bilof at Looking Glass Studios, Siobhan Payne at Olympic Studios, Peter Van Hooke at Lost Island Studios, Steve Rosenthal at the Magic Shop. Shlomo appears courtesy of Dented Records.

Total Running Time: 45 minutes, 45 seconds

Barcode and Other Identifiers

  • Barcode: 0 75596 29842 1
  • Matrix / Runout (Variants 1, 4): Z28743 M1S2 2 62984-2 02
  • Matrix / Runout (Variant 2): Z28743 2 62984-2 02 CI/CA *M2 S2
  • Matrix / Runout (Variant 3): Z28743 2 62984-2 02 M1S10
  • Matrix / Runout (Variant 5): Z28743 2 62984-2 02 M1S5
  • Mastering SID Code (Variants 1 to 5): ifpi L909
  • Mould SID Code (Variant 1): IFPI 2U7B
  • Mould SID Code (Variant 3): IFPA 2U7N
  • Mould SID Code (Variant 4): IFPI 2UA3
  • Mould SID Code (Variant 5): IFPI 2U4E
  • Other (Mother/Stamper, Variant 1): M1S2
  • Other (Mother/Stamper, Variant 2): *M2 S2
  • Other (Mother/Stamper, Variant 3): M1S10
  • Other (Mother/Stamper, Variant 4): M1S4
  • Other (Mother/Stamper, Variant 5): M1S5

Other Versions (5 of 95) View All

Cat# Artist Title (Format) Label Cat# Country Year
TPLP358 Björk Medúlla(2x12", Album, Ltd) One Little Indian TPLP358 UK 2004 Sell This Version
9867590, DG8894 Björk Medúlla(CD, Album) Polydor, Universal Music Korea 9867590, DG8894 South Korea 2004 Sell This Version
none Björk Medulla(15xFile, AAC, Album, 256) One Little Indian none 2004
CD2004-053 Björk Medúlla(CDr, Album, Enh, Unofficial) ТанцPoll CD2004-053 Russia 2004 Sell This Version
9867590 Björk Medúlla(CD, Album) Polydor 9867590 Ukraine 2004 Sell This Version

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dghkfhldfdhlfa

dghkfhldfdhlfa

December 13, 2010
what a strange record - in substance, in intent and within somebody like bjork's back catalog. for those living under a rock over the last several years, or perhaps born in the 1990s, this record is bjork's attempt to eliminate all musical instruments from the recording process. yes, it is the actualization of the worst nightmare of musician unions everywhere, the creation of a fully developed record using nothing but a voice and computer.

of course, none of that is actually true. several voices are used on this record and they come from a rather broad "underground" background including mike patton from mr. bungle & faith no more and robert wyatt from soft machine. peter hooke, of joy division and new order fame, also makes an appearance as do several more modern record producers: mark bell and matmos most prominently. furthermore, the record is extremely heavily programmed in one way or another; whether the sequencers are using voice snippets or synthesized drums is in many ways not particularly relevant. this is an idm record first and an a capella disc second.

the juxtaposition of very dour and minimal electronic beats with traditional icelandic throat singing is at times bluntly startling, particularly when it takes on nationalist political undertones. bjork's politics are often lost in her stage persona and her persistent interest in pushing the envelope of what could be considered to be "pop music". she seems to primarily be interested in the coalescence of geographically isolated populations into unified, independent voices. the implication is that her ideal global framework is one where nations are small and insulated but, by extension, have equal voices. if you can imagine a united nations with 1000 seats, each one representing a unique culture as opposed to a diverse country, then you are getting close to a vague picture of bjork's ideal world.

i find the ideal to be noble but unrealistic and perhaps a little too strongly rooted in cultural identity at the expense of global identity. on the one hand, a single world culture would take away the most powerful weapon that the elite has: xenophobia. without the ability to spread propaganda based on xenophobia, the war economy could not burn and war could not exist. yet, bjork seems to have an aversion to this ideal in the sense that it destroys identity, it would leave the world a rather dour and boring place where everybody is the same. is that a realistic analysis? within nations, are we not all unique? so, why maintain the negative aspects of nations?

it was easy to label this as a classic when it first came out as it was so unique in it's intent that it was clearly going to carve a unique niche for itself. however, sometimes these kinds of projects simply don't hold up to too much scrutiny and i'm afraid that this appears to be the case with this record. first, it suffers from "hit single syndrome". "hit single syndrome" is the preventable condition of feeling forced to include a marketable track on an album-length concept record. i've heard too many full concepts articulated, and, yes, even recently, through major label contracts and wide distributions to believe that the label is really behind the "hit single syndrome" to any measurable degree. sure, there are some exceptions, but the only legitimate examples of label intrusion that i've ever seen are at the record level. it's never "include this single". it's always "don't release this record.". it's hard to contemplate how they would have let this record out at all if they didn't think it was marketable. so, you really need to pin the "hit single" thing on the artists themselves.

on this record, the hit single is "who is it". it just doesn't work on the record, especially not after you've heard it several times. the track is just weak; it's a great pop song and little else. the other problem is that the more you listen to the disc, the "icelandic throat singing" starts to sound more and more like "christian hymning". i'm sure there's all kinds of influence flowing around all kinds of different ways. yet, the hymning gets a little tiresome after a while.

you have to give her points for being brave and you have to admire the concept. overall, it is an intriguing listen and it's great to toss on once in a while. yet, the material is just not strong enough to let it flow well enough to allow it to carve out a niche. the quintessential mic/machine disc that eliminates all musical instruments and must be heard by all has yet to be written.
fabz

fabz

October 11, 2004
edited over 14 years ago

There's no doubt that in every Björk release you will observe an evolution in her style, however in my opinion Medúlla is not an evolution but mutation indeed. Do not expect the melodic tunes and sing-along songs from her previous albums but a musical experiment. Submarine is the best track in this album but the other tracks difer much from what Björk used to sound.