Vespertine

User Score
9.1

Universal acclaim- based on 288 Ratings

User score distribution:
  1. Negative: 11 out of 288

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  1. BenjaminBunny
    Aug 12, 2003
    6
    Pretty, pretty, pretty! I like pretty, and "Vespertine" is the damn prettiest record I've heard since Enya at her peak. I also like Krispy Kreme donuts--yummm all that sugar. Sugar, sugar, sugar! I wish I could eat them all the time, just like I wish I could listen to this album all the time. But too much pretty, like too much sugar icing, ends up making one feel a bit blanched and Pretty, pretty, pretty! I like pretty, and "Vespertine" is the damn prettiest record I've heard since Enya at her peak. I also like Krispy Kreme donuts--yummm all that sugar. Sugar, sugar, sugar! I wish I could eat them all the time, just like I wish I could listen to this album all the time. But too much pretty, like too much sugar icing, ends up making one feel a bit blanched and ill. Sometimes you need your vegetables too. Expand
  2. IvanA
    Oct 24, 2002
    4
    She gave her best in the past ('Debut', 'Post', 'Homogenic'), but its best turned out for the same pattern her voice reigns so passionately and in the case of 'Vespertine' so irritatingly boring. Just as long as it kicks ass in favour of modern technology...
  3. ivanl
    Dec 17, 2003
    4
    i love "Post", i just dont get this one
  4. Dec 18, 2016
    5
    O álbum mais fraco e sem graça da Björk já feito, consegue ser pior que até o Biophilia. Uma verdadeira superestimação em um álbum tão ruim cujo ponto alto é apenas Pagan Poetry. Tantos álbuns melhores feitos pela Björk para terem essa altíssima nota e o Vespertine é quem recebe, uma verdadeira vergonha.
Metascore
88

Universal acclaim - based on 28 Critics

Critic score distribution:
  1. Positive: 27 out of 28
  2. Negative: 0 out of 28
  1. 90
    With Vespertine, Bjork has constructed a whispering wall of wonders, and instead of forcing everyone out, has invited the world to look through the cracks.
  2. 1997's Homogenic, also a mixture of heavy beats and strings, was not as varied or complete as this album, and while Selmasongs, last year's soundtrack to "Dancer in the Dark" (in which Björk starred), was lovely in its own sweeping, cinematic way, Björk has surpassed herself with this new work.
  3. Björk continues to mine the fine line of minimalist lushness that her last album gave birth to; with tiny, crackling, skittery beats weaving open-toned ambient beds in which her breathy, pushed-forward vocals lithely lay, the closeness and drama of her every syllable commanding attention.