Quote:
Originally posted by Arioso
I saved it for last (sans Vulnicura) and it worked pretty well, though. Because of its style it's almost like it's the culmination of a lot of her ideas and work. But anyway, you do have to admit that her discography is rather imposing to people who are used to just top 40 pop.
I'd agree, retrospectively, that there's a definite progression to her overall body of work and that chronologically is the best way to listen, but even listening to them out of chronological order - just in an effort to really prepare yourself - makes that progression very clear, because while the works are distinct you can tell which sound like each other in what ways.
I'm worried about how much I'll like Vulnicura, honestly - I've loved every other album so far (with particular love for Vespertine and Medulla), but Biophilia was my least favorite so far (though I did still like it quite a lot, and I haven't gotten to mess with the app yet). From what I hear, Vulnicura in some ways builds on the sonic elements of Biophilia but also returns to a lot of the Homogenic kind of sound. We'll see!
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Frankly I don't think Vulnicura sounds anything like Biophilia except for her vocals. If the drawn-out vocals on Biophilia make it your least fave, that might put a bit of a damper on Vulnicura for you
But that's just her typical thing tbh, one element holding over from each previous album. I find it goes like this:
Post is a better version of Debut in a lot of ways, not much else to say.
Homogenic retains the hard beats of Post.
Selmasongs retains the strings of Homogenic.
Vespertine retains the instrumentals built on layered samples of Selmasongs.
Medulla retains the chorus arrangements of Vespertine.
DR9 retains the creepy vocals from Medulla (Pearl esp)
Volta retains the brass elements of DR9.
Biophilia retains/refines the more experimental elements of Volta.
Vulnicura retains the vocal stylings of Biophilia.
That's why I like her albums in chronological order so much
