Bad relationships are the running concern on the DIY indie rocker’s effective debut album ‘Clean.’ Over alternatively soft and subtly vicious chord progressions, she sings about unfollowed desires, self-doubt and disappointment.
Each song is its own room, fully furnished, and while every room is consistent aesthetically with the last, they all offer the listener a new discovery, a new chaise lounge to dance on and a new framed photo to gawk at.
'Yoshimi Battles The Pink Robots Part 1' immediately comes to mind, but I also think that this mission to save humanity would do well to channel Rico Nasty’s most recent track, 'Smack A Bitch,' which is exactly what needs to be done with this oddly sexualized death trap.
On a Saturday I sit in the Law library. I often do this, busy or not, wasting my time pretending I’m using my time wisely. If I’m sitting in the library, I’m working, right? Of course, when I say “work,” I’m saying that I’m simply sitting, and by sitting in the library, I’m sitting productively. The Law library does that. It makes me feel like these hours spent curating a Facebook feed I never even use are somehow hours well spent, hours moving me in a forward direction, hours put into learning.
Consider triangles, and consider geometry. These structures are here, literally and in spirit: The small interior benches are triangles; the shower is a triangle; the lampshades are triangles; the roof, too, is a triangle, though it’s an especially idiosyncratic example. Consisting of cedar shingles and wooden fascias, it folds downward just slightly and moves into an aggressive point in the backyard, where it hangs over a patio that expands into the grass.
Björk has always aimed for the grand, and she goes for it here, and often does it well. But the problem with a non-narrative album which has so many competing ideas is that it can become overwhelming, even confusing, and 'Utopia' certainly has moments when it’s not entirely sure where it’s stretching.