This time, I will take care of myself for myself

In the spotlight of the album "Tabula Rasa", the theme Björk stands for is empowerment, and personal redemption; insisted that "we women rise up and not lie down", and not to repeat the failure of others - specifically, his own. Vulnicura and Utopia's album Utopia, thematically, two sides of the same coin; both producers feature the statue stand out and add a new depth to Björk's music, but the Icelandic singer himself is found in a different frame of mind, be it from a woman in great emotional pressure, and a woman rediscovers love and finds great. the joy in that magical revelation. Utopia finds Björk almost confused, close to happy with the future potential for himself and his lover; "Blissing Me" has a very strong emotion still alive, Björk tries to find it in her to fall in love again, but convinces herself that the relationship is limited to mutual interest ("Sending to each other MP3 / falling in love with the song") - only to resign to the fact that he had fallen in love with this individual ("Am I in love with love?"). It's the constant discovery, awakening, and intimacy that actually defines Utopia, a record that follows a similar path that Vespertine did in 2001 with some songs dedicated to the beloved Björk and the palpable euphoria of each and every song.

Utopia, which became Björk's longest record, gradually burned with great atmospheric instrumentation ranging from waifish vocalizations, chirping birds chirping, and fierce brawl fights that clashed with Björk's sound, which sometimes, like Medusa 2004, were other instruments in a wide variety present in Utopia, whether it be part of a heavenly choir or a fragile acapella accompaniment. Protrusions like the ten-minute epic "Body Memory", written in response to the melancholy "Black Lake", worth every minute dedicated to it, evoke images of the misty hills and cool landscape interspersed with the themes of humanity and nature, which Björk employs magnificently to emphasize a personal awakening within himself ("Then the memory of the body kicks in / My warrior awakens / My turn to defend / Urban does not tame me") and conflict against external forces, both internal and external. "Courtship" juxtaposed flute flying against uptempo, spike beats; even further with a concept centered around personal relationships through the screen - for lack of a better word, it is a song that only proves Björk half serious about Utopia as his "Tinder album". The vulnerability of "Loss" offers a warmth associated with the theme of loss, suffering, and overcome such complications while admitting there are times where there is mutual respect between couples, and the desire that comes with that respect.

Being so fascinated in his drama, Utopia features the most intense Björk; "Sue Me", a song about divorce battle over her daughter, Isodora, is a request for the maturity and dignity of her ex-husband Matthew Barney, who seeks to sue his wife for spending too much time with their child. At the most confrontational moment, Björk's disappointment is enormous, and rightly so, demanding that their child not be caught in a firefight from a disastrous ordeal for all parties involved; while also stating that, as the mother of the child, will not "denounce its origin" no matter what. The above-mentioned "Tabula Rasa" continues this theme, with urgency elsewhere that can be found in Utopia despite its abstract composition, while "Saint" is the singing song for the music itself, and the infinite power that must heal itself spiritually and emotional.

Slowly but surely, Utopia is conceptually, in some ways, the successor of Vespertine, a different sound honch album that can not be replicated; but unlike his spiritual predecessor, Utopia leaves a slightly bitter trail behind, while encouraging his creator that he can, fight all odds, move on and start again. This is an album that, like Björk's own music, grows on you - and even if not, you can find plenty