15 décembre 2002

The New York Times

Family Tree

Björk didn’t do the obvious thing with her boxed set, which would be to collect her hits along with the remixes that have made her a club goddess. Instead, ‘’Family Tree’’ is an idiosyncratic dissection of her own music. One disc contains 12 hits, in a slightly different selection than the one-disc ‘’Greatest Hits’’ album that was released separately this year. The box also contains five three-inch mini-CD’S of just four or five songs each, classified as Beats, Strings and Roots. They separate Björk’s songs into components : her first experiments with pulsating dance-floor electronics, her voice backed only by a string quartet, and, on Roots, assorted songs in Icelandic and English, some by Björk’s old band the Sugarcubes, one (“Generous Palmstroke”) an intense live performance accompanied only by a harp. The mini-CD’s expose Björk’s voice in all its vulnerability and power ; they also separate out the rock, classical, pop and dance elements in her songs. But the various threads of her music sound even better when they’re all tangled up.

par Jon Pareles publié dans The New York Times