#Lionsong you have my whole heart

[shmowder]

I'll forever be thankful to the person who introduced me to Björk music on here; it completely changed the way I view and interact with music, I can't comprehend the possibility of going my whole life without having discovered her music just living in my limited bubble for eternity

[marcmyworks]

Ranking the albums of Björk

Today I will be ranking the albums of the fantabulous and wonderful Björk. She has been an influence on me ever since I first heard “It’s Oh So Quiet” back in 1995 and since I have been following her career extensively. Although her later albums are a bit less accessible commercially to her early work, I don’t believe she has released a bad album. I will be charting her work starting with her first solo album in 1993, and not including her work with Icelandic Punk-Pop group the Sugarcubes. I also will not be including her soundtrack to the film ‘Drawing Restraint 9’, as this was mostly instrumental.

10. Volta (2007)

Volta seemed like Björk’s attempt to gain radio play again after having an experimental phase working with her ex-partner/filmmaker Matthew Barney. The album’s first two singles, “Earth Intruders” and “Innocence” were both produced by hip-hop giants Timbaland and his protégé Danja and featured a very electronic dance aesthetic. Though the album did quite well critically and is packaged beautifully, it does not feel cohesive or really as forward thinking as most of her work. Also, the Mark Stent remixes of each single, released separately, seem to outshine the album versions.

Listen to: Earth Intruders, Declare Independence, Wanderlust, Innocence.

9. Utopia (2019)

Most Björk fans find this album to be a triumph but I currently still cannot enter the world of Utopia or find it interesting enough to warrant repeat listens. The album is her lengthiest (at over 70 minutes) and is a mixture of folk, electronic and studies more ethereal themes. Björk works with the brilliant producer Arca to help shape the landscape of each song, and at times it really works, but overall it feels overly long, and almost like a Björk parody.

Listen to: Arisen My Senses, The Gate, Sue Me, Saint

8. Biophilia (2011)

A concept album that deals with nature meeting technology. Each track is tuned to a different note on a tuning fork and sets of these tuning forks were even released as exclusive boxsets. Overall the album is well conceived and produced but does suffer from being a bit ‘samey same’, as some of the tracks blend together. I did see a concert on the three year tour for the album and I was incredibly impressed with how she was able to translate the sound live.

Listen to: Mutual Core, Crystalline, Thunderbolt, Moon

7. Selmasongs (2000)

This is the first soundtrack album conceived by Björk and contains the songs written for the film Dancer in the Dark. The film is a wonderful and sad story of an immigrant woman named Selma who is going blind, and who makes her days brighter by conceiving there is a musical happening when things seem to go wrong. The songs are quite good but not her strongest, though this may have been due to her tight time constraints and working with an orchestra.

Listen to: Cvalda, Scatterheart, 107 Steps, Overture

6. Debut (1993)

Björk’s first album post-Sugarcubes is a trip-hop masterpiece that not only launched her career but also brought London’s underground dance scene to the mainstream. This was thanks to producer Nellee Hooper who had previously won Grammy Awards working with Soul II Soul and Sinead O’Connor. Five singles were released from this album (four initially, and one on the re-issue) and all charted on the UK singles chart, with the album selling around 4.5 million copies Worldwide.

Listen to: There’s More to Life Than This, Venus as a Boy, Violently Happy, Human Behaviour, One Day

5. Vulnicura (2015)

Vulnicura in my opinion is probably the first album in Björk’s career where there were no radio-friendly tracks but rather a continuation of her wanting to push the experimentation of song constructs. Rather than release singles to promote the album Björk decided to create innovative music videos which tested new technology, such as 360-degree cameras. This later lead to a virtual reality exhibit entitled “Björk Digital” which went on an 18-month tour around the World. I still kick myself for missing it. Each song is produced by either her now long-time collaborator Arca (whom she met on her Biophilia Tour) or new collaborator The Haxon Cloak.

Listen to: Lionsong, Stonemilker, Family, Notget, Mouth Mantra

4. Medúlla (2004)

Being asked to write the theme for the 2004 Summer Olympics is an honour, but also to have its musical themes continue onto a full-length album is superb. Björk started writing Medúlla as “The Lake Album” in which she would strip all instrumentals from tracks and simply focus on voices. As she called it, a “very introverted” album and the title changed to the latin word for bone marrow, as it is the base building block of a person. Though some of the tracks do contain some synthesizers, 95% of the album’s beats and rhythms are made by mixing the voices of throat singers, beatboxers and choirs.

Listen to: Oceania, Where is the Line, Pleasure is All Mine, Sonnets/Unrealities XI, Triumph of a Heart

3. Vespertine (2001)

It took me a few years to get into this record as Vespertine was so far and beyond what anything Björk had created. I was used to the incredible experimental electronic sound on first three albums that when I listened to #4, which contains mostly micro-beats and soft vocals, and not to mention the infamous swan dress on the cover, it was a bit of a shock. Björk felt the energy of her 1997 release Homogenic was very masculine and aggressive and she wanted her new album to sound more feminine and explored her mindset during the filming of Dancer in the Dark as well as her relationship with Matthew Barney. I always felt Vespertine was a winter album as it feels quite Nordic in its soundscape. I’m glad I kept listening as it turned out to be one of my favourites. 

Listen to: Harm of Will, Pagan Poetry, Hidden Place, It’s Not Up to You, An Echo A Stain

2. Homogenic (1997)

Wowser, already at number 2. I remember the first time I heard this record with my friends; they would think it too strange though I would think it magical. It became one of my most listened to records of my teens. Its glamorous and punk and the artwork is extreme. Björk’s album look was envisioned and created by genius designer Alexander McQueen, who would be her frequent collaborator until his death in 2010. Homogenic was produced by Howie B and Mark Bell, and Björk wrote the album as a tribute to Iceland, wanting the songs to create the landscape of her homeland. The album released five singles, three which would enter the UK top 40. 

Listen to: The whole thing.

1. Post (1995)

Post is probably one of my top 10 favourite albums of all time. I could listen to it over and over again on repeat without being bored. The year 1995 was big for me in terms of musical discovery. I was 13 around the time I started buying my own cassette tapes and CDs. My Aunt came home from a business trip in London and brought back this CD. “It’s Oh So Quiet” was a massive hit in the UK and she wanted my brother, my cousins and I to hear this unusual and brilliant artist. The next year the Mission: Impossible film would come out and the song “Headphones” was featured, to which Björk sings to a friend about the feelings she has listening to his mixtape. I in tow would listen to that song every night on my Walkman before I fell asleep as it was a perfect way to end each day. Post was incredibly influential to me and to this day is a staple in my life. I can’t thank Björk enough for creating this iconic piece of music history.

Listen to: The whole thing.

Please, if you are so inclined to let me know in the comments how you’d rank Björk’s albums.

[thesinglesjukebox]

BJÖRK - THE GATE [7.00] Björk found this dressphere at the La Brea tar pits.

Will Adams: A study in musical pools. The verses read like fragments, like notes scribbled before they escape the mind. They sink into the arrangement's depths until they're no longer visible in the murk. Rising up, however, is the plea of "I/You care for you/me," a devastating summary of the reciprocal nature of care. With "The Gate," it's easy to forget that it's pulling you in with the well-worn slow build formula because the resulting churn of emotion is too captivating to ignore. [8]

Eleanor Graham: For all it reveled in minute-long string jags, towering and disintegrating tangents from recognisable melody, and general, you know, Björkness, Vulnicura was a bracingly direct break-up album. Shrugged "Lionsong": "Maybe he will come out of this loving me - maybe he won't." Cried "Stonemilker": "Show me emotional respect!" This song is not a departure, hanging all its hopes for emotional resonance on four agonised words - "I care for you!" - repeated against synths that exhale rattlesnakes and ghosts and inhale Disney panpipes and computerised bubbles. Ultimately, "The Gate" suffers the same fate as "Black Lake" in that there is too much emptiness in its sprawling sonic wasteland. The latter at least was a thing to be felt; this is just a thing to be admired. Its desolation/infatuation/desperation is apparent but lacks urgency. As far as stirring church-y atmospherics go, Susanne Sundfør accomplished far more in under three minutes. [4]

Leah Isobel: Vulnicura was one of the most heart-shattering pieces of music I've ever listened to, direct in form but utterly despairing in content. It was my gateway to Björk, and introduced me to the dizzying emotional heights she can scale within a pop structure, but its sense of sheer hopelessness keeps me from returning to it much. "The Gate" goes in the opposite direction. Arca's production lights up like one of those freaky deep-sea fish, but the electronic edges are blunted, leaving only the eerie neon luminescence. Björk, meanwhile, lets her voice unspool a patient melody that seems to float in the ether. I like the slow development on the theme, and her candid admission that she wasn't always "so needy," but I'm more excited by the implicit promise that better things are to come - both for Björk-as-song-narrator, and on her upcoming album. [7]

Anthony Easton: The spaces between the verses, filled with glacial movement and rigorous, almost minimal electronic declarations, make the proposal of caring not one of warmth or of love but of difficult obligation. She sings "care" somewhere between a phrase book and a declaration of unpleasant moral necessity. The song is easier about caring than how she sings about it, but it is still cold, and a little lonely. [9]

Alfred Soto: Years experimenting with the expositional and dramatic use of space and spare synth string effects culminate in "The Gate." I haven't heard so many nuances wrung out of the word "care." But by the four-minute mark Bjork has reached the limits of nuance, drama, and exposition. [5]

Tim de Reuse: Bjork's vocal performance takes center stage, as it often does, but an equal star here is producer Arca's production work. It's a marvelously unfriendly backdrop, as icy and alien as any take from his solo work: arrhythmic, woody kick drums, dramatic faux-orchestral trills, moaning detuned melodies, uncomfortably high clicks fed through oceans of reverb. This instrumental is fragmented and difficult to keep track of, with only a vague overarching trend of growth, and it's just as temporally disorienting the whole way through as Bjork's freeform lamentations. By totally refusing the listener basic metrical or structural points of reference, its individual sections feel slippery and formless in memory, and it makes a bright blur of an overall impression even as it's difficult to recall exactly how the beginning differs from the end. That kind of effect doesn't always pan out in a song's favor, of course, but every piece of this song's construction seems to have been tweaked to accentuate this effect; a jumbled, half-ordered cloud of dramatic, interrelated events floating in a bubble of space. Listening through it is like trying to remember a fantastic, weird dream. [9]

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