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Drawing Restraint #9

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Customer Reviews

This could perhaps be the most unpleasant experience both cinematically and musically. Seeing the film Drawing Restraint 9 to begin with is an "experience" to say the least. As a dying fan of Bjork, mainly because her music grows ever more boring and disenfranchising with each new album, I have to say that the film Drawing Restraint 9 is the cinematic equivalent of watching your child die of cancer. The most slow paced, uneventful, monotonous, uninteresting, and towards the end, the most offensive and disgusting film it has ever been my displeasure to have been desensitized to see. I can't comprehend how Bjork actually conceived of that film, confidently showed it to others, and could walk away with her dignity in tact. To top that off, we have the soundtrack to this film with which I can't understand even the most eager Bjork fan managing to listen to all the way through without losing the majority of their IQ. It's hard to know sometimes if this album is even taking itself seriously.

If this album is art, then so is farting the star spangled banner.

Surreal, Disturbinng, and Wholesome

A nightmare unleashed and unraveled, disected, and consumed. I have no idea how else to describe this. Its not an easy first listen, but eventually it will become a part of your everyday life. Its overall sturcture and frightfulness rises above and beyond expectation. The throat singing track by Tanya Tagaq was performed extremely well, and no Bjork collection is complete without Ambergris March! Drawing Restraint is a showcase of how disturbing the world truely is. A challenging listen, and is powerful and complete. It is probably one of the most misunderstood and cofusing albums of all time.


The review below is actually pretty inaccurate -- it hinges on the notion that Bjork created "Drawing Restraint 9." She didn't. Matthew Barney wrote and directed the film, and Bjork composed the soundtrack and acted in the film.
As for the music itself: "Drawing Restraint 9" is a beautiful album. Bjork utilizes traditional Japanese music and throat singing -- throat singing! -- alongside her usual Icelandic weirdness, and this creates a magical album that is at once immediately identifiable as Bjork, yet so strange and experimental (even for her) that it's a unique listening experience. I came into this album with a little bit of knowledge of the film, and although I haven't seen the whole thing (and what I saw was not the cinematic equivalent of watching your child die of cancer, strangely enough) I felt confident enough to assume what the soundtrack would sound like. I was amazed at how strange the soundtrack was, and how beautiful -- if you like experimental music, that is. If you prefer Bjork's poppier stuff, you should probably stick with her earlier albums; if you prefer her stranger sound experiments, or if you like traditional Japanese music, check this album out.


Born: November 21, 1965 in Reykjavik, Iceland

Genre: Electronic

Years Active: '70s, '80s, '90s, '00s, '10s

Björk first came to prominence as one of the lead vocalists of the avant pop Icelandic sextet the Sugarcubes, but when she launched a solo career after the group's 1992 demise, she quickly eclipsed her old band's popularity. Instead of following in the Sugarcubes' arty guitar rock pretensions, Björk immersed herself in dance and club culture, working with many of the biggest names in the genre, including Nellee Hooper, Underworld, and Tricky. Debut, her first solo effort (except for an Icelandic-only...
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