Vocal: Björk.
Programming: Leila.
Arranging & editing: Björk.
Written by Björk & Leila.
Produced by Björk.

Previously performed as "Nameless" on the Greatest Hits tour.

"on Storm Leila encrypts a virtual chorus of Björks in a dense and terrifying sheet of distorted processing which musically models the ship's malfunctioning electronics as they are short-circuited by the creeping flow of vaseline."
Press release text by Drew Daniel

2005 - Drawing Restraint 9
> http://www.bjork.com/facts/lyrics

Vocal: Björk.
Piano treatments: Akira Rabelais.
Arranged & edited by Björk.
Written by Björk & Akira Rabelais.
Produced by Björk.

"Bath sets Björk's lonely voice against the shivering processed textures of Akira Rabelais' computer music to produce a tactile equivalent to the film's bathing sequence"
Press release text by Drew Daniel

Björk sings over an existing song by Akira Rabelais, called 'Aposiopesis'.

2005 - Drawing Restraint 9
> http://www.bjork.com/facts/lyrics

Harpsichord: Guðrún Óskarsdóttir.
Crotales, glockenspiel: Samuel Solomon.
Beat programming: Mark Bell, Valgeir Sigurðsson, Björk.
Arranging & editing: Björk.
Written by Björk.
Produced by Björk, Mark Bell & Valgeir Sigurðsson.

"on Ambergris March, Bell fashions a rubbery bassline out of a pattern provided by Björk and based on a traditional Japanese folkdance to celebrate the arrival of the liquid vaseline tanker into the harbor."
Press release text by Drew Daniel

2005 - Drawing Restraint 9
> http://www.bjork.com/facts/lyrics

Vocal: Will Oldham.
Celeste: Jónas Sen.
Harp: Zeena Parkins.
Programming: Valgeir Sigurðsson, Björk.
Keyboard: Nico Muhly.
Arranging & editing: Björk.
Written by Björk and Matthew Barney.
Produced by Björk.

"In the film's moving opening sequence, we hear Will Oldham sing in English the text of a letter from a Japanese citizen to General MacArthur thanking him for lifting the U.S. moratorium on whaling off the nation's coasts; this text was adapted by Matthew Barney and set to music by Björk for harp, here played by Zeena Parkins. Its delicate delivery acknowledges the folk-culture roots of whaling, while it also subtly…

"I just nicknamed it "Miðvikudags", which means wednesday…s, it was basically because I did it on a wednesday – sometimes you don't know what to call them, you know. This is similar to me with "Öll Birtan" – that it's like a little interlude and maybe shows where this whole tree came from, that it's from me being 18, or even younger - being ike 10, and having two rubbish tape recorders and recording my voice into one, and then recording on the other one, the tape recorder and me, adding a voice on top, and then back, playing with…

"Obviously the line about Osamas and Bushes was a bad joke. But I guess it's sort of partly true, because it insterests me a lot with western civilization, that someone as passionate as Osama could be such a threat, and it seemed to me at times to be almost passion versus logic. I found it really interesteing that it could be so un-understandable for some people that somebody would do something like that, and how unaware the western civilization were of how annoying they are sometimes – I'm obviously not justifying what he did. But after that, it just totally…

Performed by Björk and Tagaq
Piano and programming: Björk

"'Ancestors' was one of the last titles to come. I kept calling it 'Piano II', 'cause I did some piano experiments and this was one of them, it was a working title. In the end when I was naming the record 'Medúlla' and tried to work out what was missing, maybe it was the pagan element and the element about this record that is going back to the roots - before time, or civilization, or religion, or patriotism. Because most of the time I'm looking forward and I want to enter…

Performed by Björk with The Icelandic Choir
Based on a poem by E.E. Cummings called "It may not always be so"

"Basically, there's 'Sonnets', and they have many unrealities, and this is reality number 11. It's like a chunk of poems, and this is one of them. It's kind of him taking the piss of himself, when you make up things that scare you out of nowhere - you're just paranoid. In this particular case it's about him being madly in love with a girl, things are totally euphoric and couldn't be more perfect, and then his mind starts playing…

Performed by Björk with the London Choir
Beats: Shlomo
Piano: Nico Muhly
Vocal samples: Robert Wyatt
Programmed by: Björk, Mark Bell, Valgeir Sigurdsson

This song was premiered at the 2004 Olympics in Athens, Greece.

"Basically, the Olympics people asked me to do a kind of 'Ebony and Ivory' or 'We Are the World' type song. Those are smashing tunes and all that, but I thought, 'Maybe there's another angle to this.' When I tried to write an Olympic lyric, though, it was full of sports socks and ribbons. I ended up pissing myself laughing." Björk decided to call on Sjón…

Performed by Björk with The Icelandic Choir
Programming: Olivier Alary

"Olivier Alary (Ensemble) had sent me a CD with a few sketches, and said "if you ever feel like using those, please do." A year later, I wrote this melody and was singing it in a cabin by a lake here in Iceland in january 2004. That was like the first little trips away from my little girl - I would go three hours a day to this cabin by the lake and do whatever I could and then drive back to town. I would sing several versions of this…