This is Sonic symbolism.

Episode 4. Westperine. The working title for Westpartine was domestica, maybe from touring way too much for five years, so however long it was, I really wanted

the home. I would like be in a taxi from the airport and some country on the other side of the world

and I would peak into windows of people having a home life cooking meals and it would be like from another planet. I would kind of fantasize

about it. It was like paradise. Domestic life. I would first have to sort of create it sonically, like a bad that you wanted to move into.

And a digital bad, because I wanted to not just go back to something that was in my childhood,

but it meant like a new way to make a home, including my laptop and including my new-front self-sufficiency,

being able to work at home.

You are listening to Sonic symbolism, where Bjerk explores her emotional landscapes,

the textures and timbers of her albums, with her friends, musical

curator Osman to Rionson, and me, author and philosopher Otney Eyre.

Wesperti was released in August 2001,

Bjerk's fourth album.

The words that describe Vespertin are Winter World Paradise. Paradise frozen. Celestial whispered vocals vocals, microbeats. When I wake up a second time in his arms gorgeousness he's still inside me

who would have known Oh, what I've known.

Oh, I'm,

Oh, I'm,

Oh, I'm,

Oh, I'm now. Loyal, swans, harps. the dark currents I find an accurate copy

an accurate copy

a blue print. copy Music boxes, laptops, laptops, orchestra.

It's not up to you. Well, it never really was.

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