It’s pretty much inconceivable at this point that a new move by Björk would fail to excite, and how many pop stars can you say that about? She’s flailed and floated so far between projects that she’s recalibrated what it means to have a sense of aesthetic purpose. 2004’s Medulla was a largely a capella exercise that included backing tracks made with an Icelandic choir, a human beatboxer, and, of course, Björk herself. Volta, released in 2007, called on Timbaland, Antony, the drummer dude from Lightning Bolt, and a brass band. Her latest album/project, Biophilia, is as aloof and elaborate as ever, comprising concerts, workshops, websites, and iPad apps corresponding to each distant, chilling track. With a sprawling array of custom-made instruments, a 24-piece Icelandic female choir, and visuals from Biophilia app creator Max Weisel, the album’s tangential adornments come to a head for live performances.