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It's started to kick in for me, but the question that's keeping me up at night now is, is there any reason for cuts like "Triumph of a Heart" or "Who Is It"--commonly known among reviewers, fans, and other proselytizers as "the more accessible tracks"--to exist specifically in the a cappella style? It seems that they could have just as easily fit in to an album like Post with more traditional electronic orchestration (leave it to Bjork to force me to use a phrase like "traditional electronic orchestration"!). They just don't seem as inextricably linked to the all-vocal mission of this album the way "Where Is the Line" and "Mouth's Cradle" are, and that kind of bugs me, mostly for the sake of trying to defend her to her detractors or to those who've lost their faith in her infallible brilliance.