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"&lt;p&gt;Even measured against the Icelandic singer&amp;apos;s own artistic yardstick, Bjork&amp;apos;s seventh studio album is a shocker, the kind of record that&amp;apos;ll stop those who overhear it and make them ask, &amp;quot;What the hell is that?&amp;quot; &lt;em&gt;Medulla&lt;/em&gt; is both the most extreme record Bjork has ever released and the most immediately accessible.&lt;/p&gt;\r\n&lt;wm:embed type=\"related\"&gt;&lt;/wm:embed&gt;&lt;p&gt;Aside from some subtle keyboards and plenty of sublime computer manipulations, &lt;em&gt;Medulla&amp;apos;s&lt;/em&gt; awe-inspiring architecture of sound is built almost exclusively from voices, including a few human beatboxes, veteran U.K. singer-songwriter Robert Wyatt, former Faith No More frontman Mike Patton, the Icelandic and London choirs and Bjork herself, delivering her most expressive performances and compositions to date.&lt;/p&gt;\r\n&lt;p&gt;On tracks such as &amp;quot;Oceania,&amp;quot; clusters of voices swim by as if they were schools of brightly colored fish. &amp;quot;Desired Constellation&amp;quot; keeps things simple, with Bjork repeatedly wailing, &amp;quot;How am I going to make it right?&amp;quot; over a fluttering buzz. At the end of the surreal and vocally symphonic &amp;quot;Mouths Cradle,&amp;quot; she concludes, &amp;quot;I need a shelter to build an altar away from all Osamas and Bushes.&amp;quot; With this heavenly orgy of angelic choirs and gigabytes of technology, she has succeeded.&lt;/p&gt;"^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.rollingstone.com/music/albumreviews/medulla-20040916>