Critique
“Venus As A Boy”, from her 1993 debut, and “Isobel”, from 1995’s Post, appear amongst newer material ; the former barely recognisable in an organic arrangement for single flute, the latter accompanied by the band jerking and undulating in time to juddering, reimagined percussion. “Show Me Forgiveness” finds Björk retreating to her custom-built reverb chamber for a primal performance, more raw than even the stripped-back recording ; while a breathtaking “Blissing Me” featured percussionist Manu Delago creating rhythm by pouring water from wooden bowls into a trough of water.
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“Mouth’s Cradle” felt like a faerie reverie straight from the pages of Shakespeare : dancing flautists in floating white garb, djembe drum and the choir. “Features Creatures” came with glacier-like visuals, stripped of the beats which characterise the album version to emphasise the devastating poetry of the lyrics ; while “Pagan Poetry” needed only a little harp to elevate the evocativeness of the chorus.
The Arts Desk
