Björk

I'll admit, I have never been too big of a fan of Bjork. I mean, I like a lot of her work, but not enough to consider myself a fan or an avid listener. I always feel like her albums are good, or sometimes even great, so I always buy just one more in the hopes that it will trump the last one I listened to. I now own four Bjork albums, and I think I was easily the most disappointed with Volta. In fact, I'd say this is the biggest disappointment of the year so far. And it's not like I dislike Bjork, once again. Homogenic and Vespertine are both great albums that I really like a lot, and in comparison to those, Bjork has taken a creative nosedive into oblivion.

I feel like XRTs "Regaler Guy" here, because my vocabulary is somewhat limited and my tone is very blatant. But I won't lie about this one. Volta sucks because it sucks. There isn't any one particular reason for the mediocrity of this album besides sheer lack of creative drive or enjoyable songs. Before Volta came out, I heard Bjork perform on Saturday Night Live and I was really impressed. One thing I will give Bjork at this point is that her vocals have not gotten any worse since the early nineties when she first started out. Her range is really fantastic and she gets out some downright beautiful notes on stage. So with that I felt optimistic about Volta, and yet it ends up being pretty mediocre. I think it's one of those albums that I really, really wish could have worked out because it just works so well on paper. It is a little bit themed, in that it seems to capture, or at least try to capture that atmosphere of tropical islands. To some extent, she make this apparent. The lead single Earth Intruders actually sounds very fresh with it's jungle beat and eclectic instruments. But then when the song finally ends, it proves itself unfit for playlist inclusion and leans on the sounds of large steamboats for about a minute and a half. Either way, it's a good start and a nice opening song.

And then the next song, Wanderlust actually sounds alright too. Bjork can get away with rather brutal sounding techno by laying her voluptuous voice over it, and the result is actually pretty good. But after that, things severely melt down. First, she does an eight minute long duet with some guy named Antony Hegarty, who is apparently fairly well known and respected, but I really dislike his lispy voice. The words are, as usual, pretty cheesy. I can't stress enough how much I wish Bjork would sing in her native language like her fellow Icelandic compatriots Sigur Ros. And then the unbalanced vocalists sing about...some dull flame of some sort for seven minutes and it is really annoying. It's just bad. The rest of the album is equally disappointing. I've always depended on Bjorks musical and vocal talent to outdo the lack of melodicism in her words, and unfortunately she just can't pull off the musical part here. The songs Innocence and Declare Independence are both very obnoxious and uninteresting. On Hope, she tries interspersing some more exotic instruments to very mixed success. This was the idea she should have tried to bring to the forefront and stress more often, and maybe this would have worked back in her heyday when she was more poppy and less dark.

It has it's moments. I really enjoy Pneumonia, and to some extent My Juvenile even if Antony makes a similarly mediocre comeback because the words are very lovely. But for the most part, this album is just very mediocre. I won't go into individual detail on every song, but honestly, there is very little good material here. Bjork fans seem to like it though, so who knows. If you are a casual fan, like me I guess, you are better off going for some of the more revered Bjork albums instead, namely Homogenic and Vespertine.

Just to give a brief summary as to where I stand as a Björk fan before I dive in...I think her first two albums (Debut/Post) are both great records. Yet, she was a little more naive at the time and didn't have as much control creatively. But she was learning. With her next two releases, Homogenic and Vespertine, she began to break away from the poppy sounds of the first two and began to write (she began having more control over the writing), darker, bleaker records. So not only did she begin to define her sound and really become the unique artist she is, but they where also simply brilliant, amazing records. With Medulla she came up with an interesting concept, yet it was simply too hard to listen to in the context of a record. For me atleast.

My point is, Björk has been getting better and better, up until Medulla where things simply got TOO weird. It hurt the record and I think she crossed the line in that aspect. In her newest release, Volta, she returned to square one and tried to create something more in the flavor of a modern day Post. Well, this made perfect sense. Now I know she won't make another Vespertine, but with the creative control she's had to define her sound over the past 10 years then we should get a great return to form...right? Not so.

Three problems with Volta. 1.) Vocals are not very well written. None of the lyrics are catchy and just don't carry the emotional impact Björk put into them in the past. She just kind of rambles, which is unusual for her. 2.) The albums does not have it's own unique SOUND, as her past records have each had. The asian strings/brass/horns almost make that happen, but just don't dominate enough of the record. 3.) Her vocals are mixed WAY too high. Whoever mixed the album needs to be shot. Considering how sharp and high pitched her voice can be, it's easy for her to overpower the electronics. In Homogenic, the electronics/beats where mixed to be just about as loud as her voice, which also gave the listener a feeling of an overwhelming sonic attack on the senses. There is some great instrumentation on Volta, it's just not implemented correctly.

To touch on a few tracks, I think Earth Intruders is sort of average compared to some of her past works. A weak single. Wanderlust is much better, and features the L.F.O. infected sound of Homogenic with fast paced, slicing electronics. Problem is...the vocals on it are weak for Bjork, with the electronics mixed too low under them to the point where they don't provide the correct "punch". Innocence is a strong track of similar nature, packing a repetitive rhythm crunch that totally smacks you in the face, and the vocals are actually very good. The Dull Flame of Desire and Vertebrae both feature beautiful orchestration and better vocals, but the former is a little drawn out and is too long. Pneumonia is also very nice and relaxing, making good use of horns and rain effects. The HUGE letdown of Volta is Declare Independence, seeing how it is a collaboration with producer Mark Bell, who helped make Homogenic such a great record. It's easily one of, maybe the worst song she's written. The closer, Hope is kind of bland.

Overall, a mediocre album from Björk. She has, and can, do better than this.

Where to begin? I managed to get through most of the songs, but had to skip through parts of some. The Dull Flame of Desire, which I was ready to pronounce the worst Bjork song ever after listening to it isn't actually the worst Bjork song ever. There are worse songs after it on this disc. It's horrible. While there are times where her singing is vastly improved over Medulla and sounds almost as good as some of Homogenic, the songs themselves are utterly artless at best, and at worst - terribly grating. There is not a good song on this disc. The only good thing I've heard from this period is the Mark Bell remix of I See Who You Are. Although "good" is being really really generous there, it was the one song that didn't make me cringe.

Bjork still has plenty of singing talent which shows here, but the songwriting, lyrically and musically, is at the bottom of the barrel. It can't really get any worse than this. She needs to find a really talented producer, composer, and lyricist who will write the material for her. Her voice is still there. The music isn't.

Be it not for the little slices of heaven on this LP:
"Declare Independence"
"Earth Intruders"
this collection would be refuse.
Timbaland is a joke. I don't like the way Björk has travelled here.
Be it not for her voice, and the two tunes mentioned, this LP would receive 1 star.
I still love you Ms. Gudmunsdottir, and I look forward to meeting you again, on your next adventure.

i have always enjoyed bjork for what she gives to the world through her music. i don't ever want to take her too seriously or overanalyze her. i'm sure she doesn't enjoy that either.

i appreciate her encounters with timbaland, particularly 'innocence'. that song is a lot of fun and i can't wait for the remixes to start spinning at the clubs. it's going to make for some great, saucy dancing!

i also got a huge rise out of the song 'vertebrae by vertebrae'. the insistent stamping and those accents on the second beat are delicious!

One of the most beautiful Bjork albums. Sometimes an album represents a season, and this one is all about winter for me.

JESUS


I think no one could do any album-masterpiece like this one!
Contains emotional songs , beautiful songs , songs that reminds you of nature , snow , etc....
In my opinion , the best 2 songs are : PAGAN POETRY and A STAIN .... :) they rock!

The only weak moment of the album is when the INTERLUDE FROSTY is on , but the rest it's cool!
All MUSIC-LOVERS must have Bjork's albums like this


BUY IT!

It's sixty degrees outside. Why is it sixty degrees outside? I live in Chicago for Christ's sake. It's January. It should be sixty degrees lower than it is. Although I suppose I shouldn't complain about not being miserable every time I leave my house. But something about listening to Bjork's Vespertine makes me feel like it SHOULD be cold, and snowing. Vespertine is as much a work of art as it is a force of nature, a call to the skies for snow, a summoning of a white blanket. This is not Bjork's best album. Homogenic will most likely never be ousted from that position. But it is certainly the second greatest, and the most consistently themed, a chilling representation of Winter. This album makes the season of death come to life. Songs are blanketed in steady, warm, electronic beats and subsequently dressed up in soaring vocal harmonies and strings. Hidden Place kicks things off with a call to the unknown, represented by a mysterious melody that climbs and gently cascades back down a choral harmony. It's Not Up To You is similarly immediate but this time more happy, also given string treatment in addition to well placed harp glissandos. As with most Bjork albums, the best songs are utterly unstoppable. Hidden Place, It's Not Up To You, Pagan Poetry, and Aurora all deserve places on any Best of Bjork compilation yet to be released, as they all either match or trump anything on Post in terms of poppy fun. But the fun hardly stops there. There are several other fun songs, namely Frosti, Crabcraft, and Sun In My Mouth, all worth getting to know on their own chilly and beautiful terms. Also like most Bjork albums, good and bad, Vespertine has several clunkers and is prone to being uninteresting. Particularly, Cocoon and Undo have uninspired melodies that cannot be saved simply by being dressed up. In this way, Vespertine is far from the best it could be, but all things considered, it is a very pretty album that is to be respected as an album that suceeds on its own terms and creates lush, sophisticated styles that make it completely memorable.

Ive always loved Bjork and everything shes about, but this has to be the worst cd Ive ever heard of hers. It seems to have little direction and although I enjoy deep, dark depressing tunes, I would'nt listen to this cd unless I was actually killing myself. But again, that might just be me. Her other cds rock the casbah, this one doesn't! Hope you find some enjoyment out of it....

There is not much out there with this sound. It is certainly true that Bjork has a sound that cannot be categorized, and that is what I look for in unique music. This was my first Bjork album, and purchased at the recommendation of Amazon customers (as are many of my recent acquisition).

The album provides an electronically contrived sound with influences as diverse as anything I've heard. The vocals are haunting and, if not beautiful, intriguing. This is art, not commercial music.

This collection of tunes is an experiment with rock. I'm loving Björk's vocals, all though over-produced to an inch of her life. This LP is too eclectic to be eclectic. Post seems an effort to please mainstream goons. The LP feels forced.

The one thing that could and probably must be said about Bjork's music is that it is otherworldly. Listening to anything produced by the uber-talented Icelandic beauty (yes I said beauty; her childish and slightly impish features are exotic to me) is like a slow slide into a land unfamiliar to most humans. Bjork is in a league all her own and creates music she wants to create, music she is passionate about it that resonates on every track on this album. She cannot be pigeonholed for there is nothing she won't attempt. This can be seen full throttle in her sophomore album `Post', an album rich with unique and original concepts that elevate Bjork above just about everyone else.

The first thing you'll notice about `Post' is that it possesses a little more edge than her debut album `Debut'. The first track off the album is `Army of Me' and it is sic with heavy bass and almost eerie undertones. I relish this side of Bjork, her darker more untamed side. `Army of Me' is one of the most memorable tracks here for the beat alone will get stuck in your skin. Along these same musical lines is `Enjoy', a track that is extremely `enjoyable'. This style suits Bjork magically; her voice and her style is personified by the techno laden beats.

But this is not all Bjork has in store for us.

Taking us away from the rave and into a different kind of club atmosphere Bjork takes advantage of the techno beats to create more up-tempo tracks; much like `Hyper-Ballad' which is just that, a hyper ballad. The song starts off sweet and sincere, Bjork's flaw vocals adding layers of emotional depth to the lyrics, and then it explodes hyper-intensity that is joyous and boisterous. This same energy is seen in `I Miss You', a track that almost has a Latin flare to it with the tribal sounding bongos and horns forming a sturdy back-beat. You can tell that Bjork is having a lot of fun with this song.

`The Modern Things' is a good transitioning between the up-tempo techno beats and the sensitive ballad. It's a brilliantly constructed track and leads us into Bjork's next musical adventure...

The ballad.

Two tracks; `You've Been Flirting Again' and `Cover Me', are short and to the point, graceful and delicate in their delivery and give us yet another layer to the talent that is Bjork. `Cover Me' is such a beautiful addition to the album, adding Oriental flare to the track with the classic strings caressing the track magically. It's short, but it's meaningful. `Isobel' has classical orchestral inspiration and it magnificently merges this influence with an almost tribal backdrop. `Possibly Maybe' is one of my favorite tracks on the album. It's brimming with an intense sensuality that I didn't expect. It's soft and delicate and very inviting. It feels warm; if that makes sense.

But Bjork isn't finished yet...

If anyone has been privilidged to see `Dancer in the Dark' (I say privileged mainly because the film alone is flawless) then you have experienced Bjork in full on `musical' mode. She gives us an early taste of this with `It's Oh So Quiet', a track that feels like a Broadway number. It's lively and imaginative and perfectly constructed and delivered. Bjork knows what she's doing and it shows. Not only is it technically flawless but her heart is in it and that elevates it to new heights.

The closing track `Headphones' feels in a way like an emotional crash for Bjork. This is a good thing. The song is almost stagnant, with no real shifts in pitch but it manages to display emotion quite adequately. As the song begins you can feel an almost draining on the part of Bjork. It's a beautiful effort on her part and closes out the album spectacularly.

`Post' is one of Bjork's finest albums and is a far more complete and collected album then her phenomenal debut album `Debut'. She has mastered her vision and delivers it in such a beautiful package that we can be nothing short of stunned by her growth. Like I have said before and will continue to say; Bjork is not for everyone, but anyone can see that this girl is talented beyond compare. Even if you are not drawn to her musical style you at least must admit that she is one of the most original acts in music today, and that alone is a triumph.

i am writing this review after having listened to her most current release, volta, and i can stay that this is probably my favorite album of hers. the music is great, and the lyrics are unique and cheeky. this is actually the CD that first introduced me to her and i have been a major fan ever since. check out "army of me", "hyperballad", "enjoy" and "possibly maybe".

This is my favorite Bjork CD. For me it typefies her fearlessness in pressing forward on the frontier of sound and unusual rhythms. She's also not afraid to tackle an epic story in the framework of a song and actually make it work. Songs from this CD remain pretty high in my play lists.

The music on "Post" is brilliant and profoundly original. Like many Bjprk albums, it stands up to repeated listenings over many years and each time it reveals something more of itself. I have a deep respect for this artists and I think this in one of her best works.

This isn't the eccentric, avant-garde mistress of today, this is a younger woman who has discovered drum machines and outdated synths. Yeah, this isn't my first Bjork album, Post was, but it just makes me wonder at the shear evolutionary changes between the two.

Most of this album consists of trip hop beats and poppy ordeals; there are some great tracks, namely the singles, but aside from that the instrumentation is drum machine after drum machine. Just listen to 'One Day', 'Come To Me', or 'Big Time Sensuality' to get the feel of my meaning. (The video mix of BTS is so much better).

Either that or quiet, more organic instrument, tracks, like 'Like Someone In Love' or 'The Anchor Song', which are great, but her later catalogue shows that she is much more avid in fusing/shifting through genres, almost entirely without limitations in her imagination, but this album is an uneasy mix trip hop and soft ballad-type instrumentation. I think personally that most of these tracks are pulled off much better live, as I've heard them on Bjork's Live Box, which is really the only time I listen to some of these songs.

I'd have to say that 'Human Behaviour' will remain one of my favorite Bjork songs, in style and instrumentation, along with 'Venus as a Boy', and I think 'The Anchor Song' will be considered a defining artistic move in Bjork's entire career, but to me the rest of this album is rather tossable, as much as I'd hate to say it. I do like the bonus track, 'Play Dead', whether it's on this particular release of the album or not, but that can also be found on various singles and her 'Greatist Hits' mix, which might be a worthier purchase to get the best songs from this album.

"Human Behaviour" was the first time I'd ever heard this woman's voice. Thank God for that happenstance. This LP folds you within it and you become one with the fibers contained.

I think anyone would have to at least admit that Bjork is probably the most unique musical artist out there today. They needn't admit anything more. She doesn't have to be their style, she doesn't have to be someone they long to listen to at any interval but they can't help but respect and admire what she brings to the table. Bjork is above all else Bjork, as in she will always be herself even if that means putting out music that no one but her will ever understand. I have been a fan of Bjork since I watched her caress the screen in von Trier's masterpiece `Dancer in the Dark' and have since attained all of her albums, all of her singles, all of her LP's, EP's and the like and have grown to embrace her musical passion even more.

With her debut album `Debut' Bjork came onto the scene strong with an album that establishes her as voice of a generation; a voice demanding to be heard.

I, for one, want to listen.

`Debut' is not as dark or as deep as some of Bjork's later efforts. It has more of a pop vibe to it with club worthy beats lacing each track. It's similar to her most recent work `Volta'. This isn't a bad thing, but I tend to prefer her darker work.

Bjork delivers magnificently on tracks like the opening `Human Behavior', a song that instantly burrows itself inside your eardrums with infectious drum beats and Bjork's signature vocals. Now I'll never be caught saying that Bjork has a masterful voice because she doesn't. She has a very immature and girlish voice, but it's within these flaws and vocal hiccups that add layers to the overall effect Bjork has on the listener. With each high pitched choke, rasp and vocal crack we get a real feel on who this singer really is, inside and out. She's just a girl with a point of view and the drive to get it out there.

Songs like `Venus As a Boy', `Violently Happy' and `Big Time Sensuality' are tracks most fans of hers, and even some who are not, are privy to. These tracks were the tracks that made her famous. There are gems though to be found underneath the more popular songs on the album. The soft spoken `Like Someone In Love' sounds very much like it belongs in a musical. The piano is a beautiful complement to Bjork's earnest delivery. `Come to Me' has a style reminiscent of Bjork's later material, dark and ominous and silky smooth. It has a low-key techno vibe to it.

Tracks like `There's More to Life Than This' and `Crying' belong in the club with up tempo beats that would devour a dance floor. They somewhat remind me of Garbage tracks, somewhat. `One Day' is not as up-tempo but its close enough; very club friendly.

There are some tracks that don't work so well though. Tracks like `Aeroplane' fail to impress me. Another track that fails in this regard is `The Anchor Song', a track that is maybe to `original' for its own good.

In the end `Debut' is a mighty fine debut album from Bjork and wets the appetite for future releases. I for one adore her for her vision, her drive and her talent. I know that she is not for everyone, but for those of us who have come to admire and respect her we realize that there is no one quite like Bjork, and that alone is enough to keep us coming back for more.

Bjork's appropiately titled album "Debut" is one of the best albums you will ever hear in your life. Each of Bjork's songs are brilliantly beautiful, but unusual (the good way) at the same time. "Debut" is one of the best albums you'll have in your collection. Bjork is a wonderful artist, who, in my opinion, is one of the best artists ever. It's a must have if you want something different.

Björk's aptly titled debut solo album was a long-time favorite of mine. I recently got all of her records out again for a progressive chronological refresher course in all things Björk, and I found that Debut stands up very well to the passing years. It remains Björk's most accessible album, as her subsequent records became more experimental, strident, and downright odd with each new release. But cuts like "Human Behavior", while remaining commercially viable for radio play, hint at Björk's underlying strangeness. She seems not quite of this world, a perfect observer of "human behavior", as if she weren't quite human herself. Rather, she strikes me as a kind of sylphic fairy, woken up out from the deep mythological roots of her Icelandic home.

Other tracks, like the exuberant "Big Time Sensuality", the lovely "Venus as a Boy", and the brooding "One Day" keep this record fresh, even today. A terrific album, well worth picking up if you don't have it.

cant explain it, she is the weirdest artist i have ever seen (on videos) yet she manages to capture my mind and entrance it like no one else with her hipnotic voice and music.....is it just me? and im one who likes hard core rock and metal...yet she grabs me??
simply one of a kind....if your one of those who hate it....drink some beers and if your in love - you'll see paradise open right before your shut out eyes............ sweet dreams and good riddance - worth a try

"Great Hits" contains all the best of Bjork without the filler. This compilation contains the best tracks from each of Bjork's first three albums. So if you are new to this artist then opt for this title and ignore Debut, Post, and Homogenic. However, there are some good tracks on Vespertine that didn't make the cut which would make that album the only one worth considering for purchase. Sadly, the few noteworthy songs Bjork has released since this compilation are Oceania, Earth Intruders, and the Bell choir mix of Who Is it. As a result, her later albums Medulla, and Volta are a complete waste of time. To reiterate, if you are new to Bjork then go for "Greatest Hits" and ignore the rest.

Having always known of Bjork growing up, I was always strangely fascinated by her. I never really knew of any Bjork music, and that of which I had heard once off on alternative radio and such, I did not care for. I received this as a gift, and had to act happy that I got it as It really wouldn't of been my first choice, but as I gave it a listen, and then listened some more I became addicted to it, and Bjork has since become my favourite recording artist or all time. Happy story!!

On first listen, I didn't really get it. I thought the music was mid-tempo, the proununciation of many words funny, and just didn't get it! Although I was into Radiohead (post Ok Computer) I hadn't really been into this genre and didn't know how to approach it. The more I sat with my disk man and really listened to the songs the more they started to actually effect me in which very few songs have ever done. Years on, I still discover new things in Bjorks music, and am still excited by her older songs.

Joga hit me as the first great thing about this album. The first ten seconds of the songs are better than anyother ten seconds of any song, ever! The melody is so complex and beautiful and the beats are so harsh and aggressive but it works. Suddenly songs like `Play Dead' `All is full of love' `Hyper Ballad' and `Hunter' all started hitting me as absolute classics. `Army of Me', although it takes a while, has become one of my favourite songs, and is excellent when played as loud as possible. It can be a feat to listen to this album straight through until you really get it as you are bombarded with absolute epics, one after another. Even years after getting this, I have just started to love `Pagan Poetry'.

If you are even the slightest bit interested in getting into Bjork, and even if you aren't then get this album. I cannot recommend it enough. She is the greatest living Musician of this era and will hopefully soon get the recognition she deserves.

All of the songs here are amazing, thats why they're hits right? Another good thing, she let her fans decide what songs should go on here. But I was disappionted that she only put the singles up, songs like Unravled, It's Not Up To You, Crying, and Unison should've been on here. Even though it's a great collection, it's a collection for starters to Bjork.

Bjork is definitely one of those artists whom you either love or hate. Bjork has a voice that will either make people happy or make them stuff cotton balls into their ears. I am not wildly crazy about Bjork since I find some of her songs absolutely annoying as heck (especially her the one album she did without any instruments). Her greatest hits compilation is absolutely perfect for me because it has most of my favorite songs by Bjork (with the exception of "It's Oh So Quiet", which I admit irks me that she'd leave that song off the album but maybe she has a good reason for that exclusion). Despite missing "It's Oh So Quiet", I like all of the songs on Bjork's greatest hits.

Approaching the catalog of an artist as prestigious as Bjork is very difficult, and at first glance new listeners would want to stray from Homogenic in exchange for an album where she looks prettier on the cover. But this album is definitely one of her most serious, moving works and should be an eventual purchase for even casual fans. For the record, this is generally argued to be her best album, and although it may not be easy to listen to at first, the album stands out as being great if you can manage to give it a bit of a chance to open up. From the beginning dynamics of Hunter to the final touching words of All Is Full of Love, most everything on this album is very good and melodies are used to their full potential. But while this album pushes Bjork's songwriting ability to impressive lengths, it also expands her vocal finesse to it's most beautiful lengths. Her range and technique are wonderful as usual, but the amount of feeling she puts into her singing is what makes the album truly shine. I think the only problem anyone could ever have with her singing is her distinct Icelandic accent, which to some is wonderful while annoying to others. In any case, Bjork has enough talent to put tingles down even her critics spines. The album's clear highlight and strongest radio song is without a doubt Bachellorette, an unspeakably moving melancholy orchestral explosion. The consistency of this is also surprisingly reliable and the album stays true to it's unique style of icy melodies dotted with electronic touches. It may not be the easiest Bjork album, but if you simply want to go for the throat and nothing more, this will be the one you want to get.

I love this album, but I don't feel like talking about it; instead, I was looking through what other people think of this album, and I came across the stupidest review I ever read on Amazon. Here it is so you don't have to look for it:

'This artist is really INSANE! If some so-called artists called this music "art" they're really wrong and crazy. I've been listening Bjork's music a lot of times and I couldn't find an answer to his physically disordered mind. This album gives you a clear idea of how A DISORDERED MIND can produce music.
Do not listen this music unless you have no sense of art and human spirit. This is not what european people listen everyday. Don't be fooled by the idea this is art-music. Go somewhere else, like Beethoven or Vivaldi music. Take this CD to trash!'

Wow, I can't say enough about this review, except for really bad grammar skills, and that anyone who thinks Bjork is a guy probably should just stay away from anything that doesn't sound like Nickelback.

This collection of tracks is superb.
Perfection within the very notes and programming.
I love each song on this LP for different reasons.
Each song has it's own personality.

I adore Bjork. Not only is she an amazingly beautiful and beguling woman, but she's one of the greatest musicians working today, and this is one of my favorite albums of hers. This was the first album of hers I got, and I still play the tar out of it. The opening song, Hunter, is filled with tension and beauty, but my favorite song has to be Joga, the 2nd track. The chorus is so powerful and moving, and the string section gives it a really beautiful feel. The final track, All is Full of Love, is wonderful as well. When Bjork sings, that voice penetrates your soul. It gets to you emotionally first, intellectually second. She has such an aura and a magnetism to her that is undeniable. Unfortunately, many in this country think of her in the swan dress at the Oscars (For the record, I love that dress. She looks adorable in it). It's easy to make fun of a real artist like her. She's immensely popular in the rest of the world (and with good reason). She is worth every accolade that has come her way. She is life, love, happiness, and sadness. She is universe...

Bjork is absolutelly a genius. Bachelorette must be one of the most moving songs I know.

if you want a compilation of non-mainstream artists and music,this is it
portishead's roads has to be my favorite numbr off of here along with girl you want by devo

the movie rocks!!

Loved the CD - lot's of great tunes, including L7's Shove, Joan Jett's version of Let's Do It (great running song) and Bjork's strange, but compelling Army of Me.

When I first got this CD after compulsively watching the movie several times over, I have to admit that I was a little bummed that not all of the songs I was expecting to hear were there. Over time it really grew on me and I have been quite please with the CD. I've picked up more of the music of the different bands featured on it. It's a great choice for someone who likes to keep a nice variety of sounds swimming in her ears. It has given me a taste of artists that I wouldn't normally have stumbled upon otherwise. See the movie if you want a fun & funky chick-flick. If it gets you revved you can expect to be dancing, hopping, bobbing & lipsynching to the soundtrack!

This is a great cd and although it doesnt have all the songs from the film i wanted it is well worth a listen

In 2005, Bjork Guomundsdottir (I'm not spelling that again.) continued her streak of relatively organic albums with Medulla. The preceding Vespertine was a huge success, an achingly beautiful album with more individual style than even the vastly successful Homogenic. The concept for Medulla was to make an album comprised completely of vocals and vocal samples. These voices are not bare, and are given electronic lifts and touchups throughout, but still, the vast majority of the album is spent exploring the human voice, the world's oldest and most direct musical instrument.

Bjork said in an interview for the making of the album that she has passed the point where she can make music by herself, unaccompanied. Although she has featured other artists in the past, Medulla features more other artists than any other Bjork album. It feels like a joint effort, a sort of carnival of tricks and surprises of which Bjork is the ringleader. She herself has not changed her vocal style much for the album. Or maybe her vocal style was fluid enough in the first place to attend to the concepts that Medulla has to offer.

The guest singers are, however, the interesting and compelling parts of the album. Not that Bjork can't deliver a nice song on her own. Desired Constellations, for example, is a brilliant little gem dotted with electronic blips that may or may not be highly distorted vocal samples, and comes from Bjork and Bjork alone. But the finest songs on here are accompanied. The high point of the album, Who Is It (Carry My Joy On The Left, Carry My Pain On The Right), features both champion beatboxer Rahzel and Mike Patton of Faith No More. As Bjork presents her slyly articulate voice in one of her most emotional performances, Rahzel cranks out intricate snaps and growls with his singular voice, and Patton produces waves of low bass tones like a singing humpback whale.

It is a shame that the rest of the album cannot live up to this brilliance, save maybe the last song, Triumph of a Heart, with Japanese vocal effect wizard Dokaka. The song is a full out dance track, although one you probably wouldn't hear in even the most liberal dance club. There are some other good songs that take a long time to unwrap themselves and become enjoyable. However, this is a standard process for Bjork albums. Vokuro, for example, is a reserved choral piece that succeeds by keeping things simple. The more of these gems one can uncover for themselves, the better.

Despite these moments of purity, Bjork still overplays her cards, moreso than on any of her other albums. Most songs feel like mixed bags, with singular great ideas that are marred by the artists desire to push her boundaries. Where Is The Line is the perfect example of botched excellence. It also features Rahzel's beatboxing for its foundation. His sequenced vocal samples seem to rhythmically play around Bjork's vocals. The song is broad in scope, which is perhaps it's problem. Although potentially excellent, it refuses to settle into its finest segments. Rahzel's ancient swagger is wasted when Bjork decides to turn the song into a production experiment. Another such song, Oceania, was composed for the 2004 Olympic Games. It is a nice song, but musically and lyrically inappropriate for any prestigious event.

The reason that Medulla does not shine as bright as the other albums, and the reason that most of her lesser songs are unmemorable, are because Bjork tries too hard to push her boundaries and do something different or experimental. She is a pop artist, who has produced such defining melodies as Venus As A Boy, Isobel, Bachelorette, and Aurora. Her gift of talent to write simple, flowing melodies, is sacrificed for the majority of Medulla. Her treatment of the vocalists is also a mixed bag. Rahzel was a great idea, and so was Mike Patton. Dokaka and Rahzel work the last song like magic...sweet, dance candy. These three artists could have helped shape the album into a fun, rhythmic showcase for vocal talent, particularly Bjork's. And really, isn't Bjork's voice the main reason we love her, and how she made her break in the first place?

While Rahzel and Patton's performances are great, Bjork botches them on a few occasions, such as the Where Is The Line mishap and the awkward performance of Submarine. The song Ancestors probably should have never happened. While I am sure Tanya Tagaq Gillis is a fine throat singer, no one really wants to hear throat singing. Brave? Yes. Necessary? No.

While Medulla is hardly a bad album, it is easily the least accomplished of Bjork's studio albums, mostly because her wonderful pop sensibilities are underutilized. The listener naturally clings to what is catchy and vocally impressive. These are the cornerstones of the album, and much of the rest is extraneous meat that could have been shaved off. It is obvious that Bjork's creative masturbation will never end, but this is alright, because we like a lot of it. The difference is that Medulla seems made to please the mind more than the ear.

I cannot go a single day without this LP playing just a little. This is a natural extension of my brain, just as my fingernails are extensions of my fingers. This music happens to be the blooming neuron within my cerebellum. Is it love? I think, yes, I think.

All I can say about this woman is that if she nor I were married, all she'd have to do is sing to me...I'd probably have HER children (they'd be eccentric, no doubt, but who cares! It's Bjork!) All in all, I liked it, especially Oceania.

She must think this is very arty, but it's excruciating to listen to as music. It sounds like a soundtrack from a nutter asylum. Very boring -- actually worse than watching paint dry.

Though this album will never be harolded as Bjork's best, it represents the limit of her more experiemental direction. An album with no instruments! Vocalists from Mike Patton to Rahzel make guest appearances to add to the mix of on album that isn't concerned with being "radio friendly". It may not be as compelling as Vespertine, but it's definately better than your typical cookie-cutter pop album.

3 1/2

Interesting soundtrack for Trier's "Dancer in the Dark" finds his star Bjork weeping and wailing her unique ways as usual over more orchestrated, but still familiar territory. Everything sounds good in a darkly whimsical and kooky sort of way, with typical electronic and vocal over-indulgences robbing most tracks of being completely spot-on, though the final track certainly ranks amongst her best work.

The imagery of the film is NOT necessary to enjoy the pain of this LP. You will feel masochistic, but you'll be pleased you cried. Salty tears will heal the wounds created by this LP. The scar is stronger than the tissue that was there before the insult.

This soundtrack goes to prove the ability of bjork. Overture in itself shows some of the best compositional prowess of our era, but add that to the rest of this soundtrack and you begin to understand how amazing Bjork truly is. The only complaint I have is the exclusion of the most moving and powerful song in the movie. The decision to exclude this track is a great misdeed to Bjork's singing ability as it is the single greatest representation of her vocal abilities ever recorded. Listening to her completely A Capella not only wrenches your heart if you have seen the movie, but also completely haunts the soul even if you do not understand the contextual meaning. Overall a great soundtrack to accompany one of the best movies I have ever seen.

I don't think you need to see the movie to appreciate the music on this album. I do think that you would be crazy NOT to see the movie though. While I was watching the movie, all I could think was _ I need this album. Okay, the movie is far more interesting and I thought many other things than, I need to buy this album.

However, I am a music lover, and these songs simply tickle my ears and mind. This album is a wonderful blend of orchestral instruments and electronica. It will make you appreciate everyday sounds and want to find the natural rhythm that is present in every day life. I'm a bit too emotionally biased to give a good review...all I can think is...I love it.

If you like Bjork, you will love this movie soundtrack as she continues to set new trends in style. The duet with Thom Yorke of Radiohead is brilliant. Check out the version she sang at the Oscars in her swan outfit on youtube. Bjork is simply an awesome talent!

Iceland's Bjork, who originally came to attention throughout the world as a member of the Sugarcubes, was not actually heard by me on radio until "It's Oh So Quiet" from her second solo album Post, when I was becoming fed up with commercial radio as awful bands like Silverchair and the Presidents of the USA emerged. At first, I found "It's Oh So Quiet" annoying and no less terrible than grunge, but as I grew to adore artists like Laura Nyro and Kate Bush I came to realise that Bjork was regarded by many as the successor to those women. This realisation, indeed, caused me to reappraise the whole of Bjork's canon, which is (like all these eccentric female artists) very much an acquired taste.

Upon buying Post from a discount store and then the quieter Vespertine, I realised that there really was so much more to Bjork than I had thought half a decade earlier. rather than dreadfully overblown noise that easily surpasses any hated 1980s hair-metal band, the predominant theme in Bjork's work is vocal acrobatics that move far beyond such classics as Laura Nyro's New York Tendaberry. Bjork was able to achieve this because she relied on very sprasely used electronics instead of a piano, so that fewer, but deeper notes accompany her voice.

Nowhere is the deep emotion created by this pattern of simple synthesisers over a dramatic voice better seen than on the 1997 remix album "Telegram". With songs taken almost exclusively from Post, the various co-workers actually added to what was already an exceptionally high emotional level by retaining and expandion upon only the barest essentials of Bjork's sound. The opener "Possibly Maybe" is truly eerie and seemingly otherworldly, yet the echo-like tone set through the piece is remarkably resonant and even catchy - kind of like Parliament with only the essential drum and bass.

The second track, a remix of her minor hit single "Hyperballad" that evokes perfectly the famously celebrated Icelandic landscapes, is a total contrast. Bjork sings in a deeply sensual manner that touches the listener much more deeply than the original album version can. Then the remixers move to the opposite extreme with a techno-intense version of "Enjoy". Though I hate the techno played on the radio in the 1990s, "Enjoy" is truly ferocious and has a level of depth that ought to have made horrible dance groups like the Real McCoy think about not making music. "My Spine", the only track unique to this album, sees Bjork at her very best over a beat of jazzy percussion and lyrics clearly derived from "Hyperballad".

"I Miss You" might feature the distasteful rapping that ruined and ruins so much music to this day, but Bjork's seductive voice is sufficient to largely, if not completely overwhelm this fault. "Isobel", wiht its brilliant lyrical celebration of remoteness and solitude, is further enhanced by the strings, whilst "Cover Me" (probably her most underrated song) is expanded in a remarkable way from the album version without losing its distinctive simple harpsichord sound. "Army of Me", in its original version perhaps the best opening track on any 1990s album, is made into a gothic instruemntal piece by the dense, layered synthesisers. It is so different that even if you find it unlistenable it's worth a try. The version of "Headphones" continues the gothic tone but in a slower, though even deeper kind of manner. the way Bjork's voice enters when one least expects it adds to the wonders of what is achieved on "Telegram".

All in all, "Telegram" is a most remarkable deconstruction of what was an exceedingly impressive album to produce some of the most daring, yet most sedctive and passionate, sound to come from the music world in the last thirty years. If you want to see what made Bjork so unique and original, there is no better place than "Telegram".

A remix usually constitutes just what it implies: vocals with some new instrumentals, and maybe a reverb, delay, and cutup, or two. But Björk being Björk, her less-than-monumental yet doubtlessly ambitious 1996 remix album Telegram is cut from a different cloth than most remixes. In fact, it's another fabric entirely.

Before any commentary, it should be duly noted that, if you disliked Post, stay far away from Telegram. There is certainly difference between the two, but if you found yourself moaning at the LP version of "Headphones," you'll practically gag on the minimalist remix on this disc.

But "Headphone" is the only track that's drastically minimized. The other songs feel busier, in fact. "Army of Me," for example, goes from the lead character to the anthropomorphic tree in the background. "Army of Me" is not minimized in a traditional sense, though the harsh electronic beats applied to it on Telegram diminish its original declaratory beauty.

If you found "Hyper-ballad" lacking on Post, you'll be happily surprised by the Brodsky Quartet version here. It sweeps into a Top Forty, Coldplay-esque crescendo that communicates such a rife, orchestral beauty----a beauty not found in the aforementioned forty. The hip-hop remix of "I Miss You" is a decent, slow-moving old-school mix that not everyone will find Björkish enough. Then again, the yuppie-lounge mix of "Isobel" may cause some listeners to instantly press "eject." And as for "Enjoy"? I don't what the hell is going on there. It's grating and pretty damn annoying. Instantly forgettable.

"Cover Me" has a little drum n' bass thing going on, and it works to an exciting degree. "Possibly Maybe" is possibly better than the original. A misty mysteriousness surrounds it, a blackened fog. Portishead vibes result, sans the emotional whining of Beth Gibbons. "You've Been Flirting Again" reminiscences a deathly little music box. It shimmers and then ogles at it own pity. An excellent track; perhaps another vastly preferable to the original.

The b-side "My Spine" is also included. It's a tiny sensuality that's breezy and a bit ominous at the same time, thanks to Evelyn Glennie's percussion.

Is the luxurious electronic silk that Telegram is made of worth your time, or should you stay to the classics and stick with Post? For a Björk fan, it's a worthy album and deserving of a spot on the CD rack. Otherwise, skip Telegram as a whole and buy its best tracks: "Hyper-ballad," "Possibly Maybe," "You've Been Flirting Again," and "My Spine."

In 1996, Bjork released her third album entitled, TELEGRAM. This album is a remix album, featuring most of the songs that were featured on her second album, POST. But the songs from her 1995 album that are on TELEGRAM are remixed. Though not as good as her first two albums, this is an extremely creative remix album.

POSSIBLE MAYBE (Lucy Mix)
Original version from the album POST (1995). Great remix.

HYPER-BALLAD (Brodsky Quartet Version)
Original version from the album POST (1995). The album/single version was incredible and amazing, but this string-band quartet version is just plain awful.

ENJOY (Further Over The Edge Mix)
Original version from the album POST (1995). Great remix.

MY SPINE
New song. This song should have been released as a single, especially for its sound and quality. Bjork could have made a great video for this one.

I MISS YOU (Dobie Rub Part One-Sunshine Mix)
Original version from the album POST (1995). Great remix.

ISOBEL (Deodato Mix)
Original version from the album POST (1995). Great remix.

YOU'VE BEEN FLIRTING AGAIN (Flirting Is A Promise Mix)
Original version from the album POST (1995). Great remix.

COVER ME (Dillinja Mix)
Original version from the album POST (1995). Another great remix.

ARMY OF ME (Masseymix)
Original version from the album POST (1995). This remix could have been a lot better, which is why I prefer the album version of this song, over this remix.

HEADPHONES (0 Mix)
Original version from the album POST (1995). This remix is a lot better than the album version of this song.

I MISS YOU
From the album POST (1995). Great song. Why Bjork included the album version of this song here is beyond me, but this is still a great song.

This remix album is another successful masterpiece by the Iceland Queen. This is a great buy for all Bjork fans.

of Bjork's eccentric music. Very powerful sounds yet a very modest approach. A definate must own for any fan of her work. Variety of musical genres presented here from a classical approach with the brodsky quartet to dark thumping techno-like pieces as well as traditional tracks. Bjork is a musician into and of her own style.

Like some other disappointed reviewers, I'm a long time Bjork fan (since the Sugarcubes) but have a hard time listening to this album. The remixes vary in style from sparse ambient to frenetic dance. This in itself is irritating because it means the album has no flow or cohesion. But it's the remixes themselves that drive me nuts. Overworked and trying too hard to 'do something different' with perfectly good songs, they just end up mangling them for the most part. I think you'd have to be a fan of remixes, rather than a fan of Bjork's, to enjoy this album. The only redeeming feature is the inclusion of some songs not available on other albums, such as 'My Spine'. I'd advise you to listen to all the samples before making this purchase.