According to Matt Koelling: “In a year that’s brought a political climate and news cycle that degrades, rather than elevates, the universe of Björk’s Utopia ascends to where I wanna be. It’s a “city in the clouds,” to parse the Icelandic pixie-nymph-goddess’ own words. A magical, mystical place, filled with big beats and angelic strings. Where synths sound like flutes, and flutes sound like synths.
Sixteen years since the last great album in an impeccable four album string, from Debut in 1993 thru Vespertine in 2001, she sounds equipped to embark on another run. This is an idyllic landscape we’ve visited before. Still, there’s a newness to it. Things feel different, yet snuggly familiar in spots.
The aspiration is for transcendence and her efforts prove worth it. For long-time fans of Björk and music nerds who need some reason to believe, with a preposterous degree of positivity regarding the human condition, despite Donald Trump’s emboldening of AmeriKKKa, or Harvey Weinstein and Lars von Trier’s treatment of women in Hollywood, Utopia is a world you want to live in.”
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