An investigation into Bjork and her Experimental Instrumentation in her past album’s

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

An investigation into Bjork and her

Experimental Instrumentation in her past album’s

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Content’s:                                                         (Page #)

 

1. Acknowledgments (3)
2. Introduction (4)

• Debut (5)

1. Post (8)
2. Homogenic (11)
3. Vespertine (14)

• Medulla (17)
• Volta (21)

1. Biophilia (24)
2. Vulnicura (28)
3. Conclusion (32)

• Bibliography (33)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Acknowledgements.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Introduction.

         It is undeniable that Bjork was and still is one of the most inspirational and unique artists of the past and is still hugely influential in the music industry today. In this dissertation I will be investigating and exploring the uniqueness of Bjork’s past and present albums, amongst this vast body of work I will focus upon looking particularly at her experimental instrumentation and some of her notable collaborations, which range from classical performers to hip hop producers such as Timberland and jazz harpist Corky Hale.

         When it comes to experimental instrumentation, Bjork is no stranger, with most of her albums emitting creative ingenuity. Bjork’s vast body of work include albums which focus on rare production of voice, or creating an album purely made from instruments that were constructed for that specific purpose only to be used as an art installation after the album was created being put on display at gallery’s and other locations, so that the general public can experience Bjork’s work in person.

         Bjork's love of classical music can be heard throughout her music with the use of string quartet's to organs, which goes to show that Bjork has a very refined palette for music, especially when she combines classical and electronic techniques.

         Each chapter / album is intricately analyzed and reviewed to create this dissertation. Through this investigation into Bjork’s back catalogue and current works I want to give Bjork as an artist, justification and appreciation for the experimental production techniques she has used and become renowned for.

 

 

 

 

 

Debut by Bjork

Introduction:

         Debut is the second studio album of the Icelandic singer Bjork, (as previously she had recorded a solo album at the age of 11) released in July 1993 by the label “One Little Indian” in the UK and “Elektra” in the United States. Bjork worked on the album with producer Nellee Hooper, who co-wrote five of the songs. The album consists mostly of love songs with topics featuring her boyfriend Dominic Thrupp, her producer Nellee Hooper and Bjork’s love for life. Musically, the songs on this album took a different direction from her previous albums with the band the Sugar cubes, with a mixtures of genres and styles ranging from house, jazz, trip hop and techno.

Album Background:

         After the album “Stick Around For Joy (1992)” with the Sugar cubes, Bjork started preparing her second album, after taking a break. During this time and until final release, Debut had already gained international recognition which was not expected by the singer and is notable in almost every interview; as she does not close the door expressing her interest of a possible meeting with the previous group.

         To prepare the album sessions, Bjork moved to London and it is here where it begins to penetrate into the techno and dance scene. Although the end result it varied enough of these styles, as only " Big Time Sensuality " and " Violently Happy " have real touches of dance, but this will meet Nellee Hooper of Soul II Soul, important in the career of Bjork. In itself, Debut, has a mix of flutes, harps, pianos and arrangements of strings proving her classical view of music.

Who were the renowned artists who collaborated and joined hands with Bjork?

         The disc contains both compounds, Bjork as herself and Nellee Hooper’s issues. It also contains a version of "Like Someone in Love" by Jimmy Van Heusen. This version was attended and performed by legendary Corky Hale, a harpist. Thanks to his collaborations with renowned artists like Dean Martin and Frank Sinatra, among others, as all of them have done a wonderful job in production of unique and different styles.

         In October 1993, Bjork released the single "Play dead", a soundtrack of the film “The Young Americans”, directed by Danny Cannon, which was starring Harvey Keitel. The song was composed in collaboration with David Arnold and Jah Wobble. At first, it was not included on the album, but with the success of the single, it was positioned as a bonus track on the following editions of “Debut”.

An exploration of the Impact caused by Debut:

         While the record label “One Little Indian” hoped to sell about 20,000 copies, it finished reaching 3 million worldwide, a modest figure compared to legendary megastars of rock, but an extraordinary figure for an artist of the alternative scene. Debut was named as the album of the year by New Musical Express, and then reached platinum status in the United States. It reached #61 on Billboard and #3 in the UK charts. It was voted by the magazine Q #74 as the best album of all time In addition, Wayne Coyne, leader of the famous rock band, The Flaming Lips, considered it his favorite record in a survey by the magazine Rolling Stone to determine the top 500 albums ever.

         With the success of the album the organization “Rock Against Racism” asked for support through granting the song "One Day" to be remixed by Andy Weatherall which later proved to be profitable for the charity. Later another remix of the song "Venus as a Boy" was released by Mick Hucknall, the lead singer of Simply Red at the suggestion of the record label which also proved to be very successful. The best mixes from the album Debut for all the people who do not buy white-label records which is aimed primarily at fans of dance music. The launch includes six remixed versions of Debut created by artists; Underworld, Endorphin, Sabres of Paradise, The Black Dog and Springs Eternal.

How dazzling was Bjork in Debut?

         You do not know if it's just her music or her eyes or her sweet girlish voice, but everything is excellent about her. Bjork’s words are expressing the roar of her soul tiger. Bjork is an icon in fashion, rebellion, Icelandic nature, and is a valuable asset in women's music. And as if that were not enough, she is also a muse for photographers and an absolute icon of electronic music. Bjork became a reference of worship in the 1990’s, although not included in the "mainstream" she has influenced many of the most famous artists, she has an irreverent sense of fashion and has one of the most prodigious voices of music. She is a wonder who goes from a whisper to a raucous reedy cry.

         Her music is experimental, meaning that it really is not pigeonholed into one genre. Bjork’s music is very versatile as it makes use of various instrumentations and technological elements. The range of styles in which her music is involved makes her one of the most complete artists as a soloist. Whilst contributing in several bands she demonstrated Icelandic fluently in jazz, punk, gothic and symphonic music whilst playing.

         "Debut" is widely regarded as her solo debut. While this is not so because it’s real debut was at age 11 in 1977 with the album "Bjork". Therefore, "Debut" marks the beginning of a new stage of her career, but for the rest of the public and criticism it is regarded as the first true solo album.

Appreciative Conclusion:

         Debut is another thing; it is the result of a creative process, which in turn consists of a number of other processes. The truly positive results ... and if we stop to think about what music can really mean in our lives. What is certain is that we currently have the ability to get the Debut disc of almost any band or artist, be it from anywhere without paying a euro for them. I know it may seem, or is, a somewhat picky remark, but I think Bjork had very well clarified to us the difference between what is the music itself and the different ways to enjoy it.

 

Post by Bjork

Introduction:

         Post is the third studio album of the singer, Bjork, released worldwide on June 13, 1995 by the label “One Little Indian Records”. Bjork worked as musical producer of all the songs, as well as composing each of them, with the exception for “It’s So Quiet", a cover song by Betty Hutton. She worked with other producers like Nellee Hooper, who had produced her previous album Debut (1993) and Graham Massey, Tricky, Howie B and Marius de Vries. Musically, Bjork’s Post defined itself as "musically promiscuous." Post is musically eclectic, including genres such as industrial music, trip hop, jazz and electronic.

The Recording History of Post:

         This album is more independent and daring than the last, it moves away from the sounds of dance and trance, featured in Debut (1993) and explores other aspects of music, such as experimentation with techno and electronic music not limited only to pop. Much material was produced during the recording of the album in 1994, including "I go humble," which then became a B-side appearing on one of the singles "Isobel" and later in Post live and Homogenic live.

         "Cover me" was originally recorded in a cave infested with bats in Nassau, but was eliminated by a studio version, it was then incorporated in the box set of Family tree on the CD Roots 2. It also includes songs that were to Debut, which is "the Modern Things" song in response to fans of the Sugar cubes that called her a traitor when she began to use the sequencer. And the song "It's so quiet ' which was originally by Betty Hutton and it seems to be the least loved by her fans.

What were the problems caused by samplers?

         The electronic musician Scanner sued Bjork for the use of a sampler on the theme "Possibly Maybe" which concluded with the withdrawal of the first copies of the album until it was resolved. Later “One Little Indian” is sentenced to pay ￡2,000.00 to the musician Scanner- for the usage of the sampler. In a separate case, the composer Simon Lovejoy accused the singer for violating the rights of copyright the song "Crying", but this time it got ruled out in favor of Bjork and no further action was taken.

         Within this album, Bjork shows a greater artistic independence with respect to any reference point and poses as a symbolic message to Iceland. Stephane Sednaoui was in charge of the cover, with whom she was romantically linked with at that time. And the design was made ??by the company “Me Company”.

Did post manage to meet the curiosities and expectations of fans?

         After separation of the Sugar cubes vanguard group, Bjork went to London to prepare for her entry into her solo career and released Debut, a great album for a career on the rise. But there was still a lot to fight for, for the Icelandic to make her name known in the showbiz world of music. Evolving and further maturing her electronic and experimental side, she climbed the charts with great producers of the London scene for her second album. Nellee Hopper (who produced her first album and was working with Massive Attack at the time), Tricky (a member of Massive Attack) and Graham Massey, the man who co-wrote and co-produced the singer's successful tracks "Army of Me" and "the modern things", both of which were made ??before Debut.

         The record’s name has up to three meanings: the first is "post" as Debut was written in Iceland and Post her career after this phase, when she had moved to London. It also has to do with the word post, as if each letter were a "post" to see someone about how she feels. Finally it has to do with posting, mail (post mail, in English). The blue and red dotted and white clothes she wears on the cover is a reference to the Union Jack flag and the Royal Mail air mail envelopes. What a wonderful thinking!

Chart positions of Post and it’s worldwide recognition:

         Considered one of the best albums of 1990, Post matched its predecessor in terms of sales. It was certified platinum in Australia ( ARIA ), Canada ( CRIA ), UK ( BPI ), United States ( RIAA ) and Europe ( IFPI ). While three of the singles from the album entered the UK Top 10, they failed to advance in the US or radio MTV. On the other hand, the album was hailed by music critics, who praised the variety of sounds on the album and voice of the singer. As part of the promotion, she released six singles between 1995 and 1997. The first of them, "Army of Me" had a good commercial reception: it became the first single from Bjork to enter the Top 10 in the UK.

         Eric Henderson of Slant Magazine awarded five out of five stars to the album, stating that she intended the listeners to try to understand her way of thinking for example, drum and bass on "Hyper-ballad '. The theme of the songs says "Possibly Maybe" is an "emotional code" to love, 'Enjoy' is a dark dub. The video for Speech was directed by Michel Gondry and Spike Jonze. Also, I have to mention that the collaborations on the album lived up to the phrases of "has always been an important aspect ' to be taken into a world-class music.

Appreciation:

         Bjork’s themes were always thought provoking. Whatever she writes alone or scripting with partners - the writer and Icelandic poet Sj?n - has an interesting point of view. According to Sj?n - at least up to 95%, when a word comes from the first person, she recounts the feelings of friends and others. It is when she writes in the third person’s perspective. However, the exceptional "Possibly maybe" track is in first person’s view and, as far as we know, it is about a relationship that did not work. In this range, she speaks of a love that can occur is not known how or when, but it is not forever. Bjork does not believe in love forever, but she definitely believes in such a colossal love that stirs one’s whole life.

 

Homogenic By Bjork

Introduction:

         Homogenic is the fourth studio album by the singer, Bjork, released in the UK on 22nd September 1997 under the label “One Little Indian”. Bjork worked as musical producer for all of the songs, also composing each. She worked with other producers such as Mark Bell, Guy Sigsworth, Howie B and Markus Dravs. Musically, the album is conceptually focused in her native Iceland. A fusion of organic (acoustic) instruments (strings, accordion and glass harmonica) and synthetic elements (sound electronic beats) can be traced throughout the record. This juxtaposition of classical and electronic music represents the clash between the chaotic and elemental Icelandic geography and technological modernity of the country.

Album Recording:

         It is not only a more experimental album than “Post”, but it also reflects the individuality of Bjork’s music. This album tries to be homogenous in the tones and compositions of the songs; hence the title is derived - although Homogenic is not an existing word in the English language. The album expresses the characteristics of Bjork’s Icelandic home and tries to make Iceland known to the world, as it should, in the opinion of its author, as a sort of techno Icelandic drive. This album is a landmark in introspection of Bjork’s work through which she begins a sequence of more experimental and complex work.

What style of music is observed in Homogenic?

         In Homogenic, as its title suggests the songs are of a similar style and aesthetic care is manifested even on the cover which was produced by photographer Nick Knight and designed by Alexander McQueen. The character that appears on the cover represents someone who does not want to have an easy life, and that was released to the depths of the ocean. The first single of Homogenic that became famous instantly was "Joga" whose title is the name of her best friend.

         Although the electronics are the stimulus for the record, it is the precise handling of instruments and torn voices work really engages as you can see the melancholy in play or the instrumentals. The ethereal Bjork’s hard work becomes the main instrument of the entire album. While the letters drown in a particular context of memories and smoothing texts, the vocal line lives up to creating the basis for the records musical tapestry, fragmenting the singer and then soaking it all in a homogeneous composition.

The Disturbing Case of Ricardo Lopez:

         One of the events that favored the earlier introspection was the disturbing case of Ricardo Lopez. Lopez was a 21 year old Uruguayan who was obsessed with Bjork. In September 1996, his body was found in her apartment in Miami, which was decorated with posters of Bjork and, after he committed suicide (because he did not accept the relationship between Bjork and Goldie, with whom she planned to marry). Besides this, Scotland Yard managed to intercept a parcel bomb containing Sulfuric acid sent by Lopez on the night of his suicide. The singer collapsed over this incident happening leaving her disturbed and feeling unsafe.

         After this traumatic event, Bjork decided to leave the city and travelled to Spain, where percussionist Trevor Morais offered study tours, here she was able to escape the attention drawn from the Lopez case. The album was recorded in Madronal (south of Spain), with a flamenco guitarist to interpret a theme. This event introduced Raimundo Amador to Bjork. Eventually, she ended up with him, recording the theme "So Broken" which is included in the Spanish version of the Homogenic album.

Track listings of Homogenic:

The famous tracks of Homogenic are “Hunter”, “Unravel”, “All Neon Like”, “5 years”, “Immature”, “Alarm call”, “Pluto” and “All is full of love”. “Immature” was released as Mark Bell’s version whereas “All is full of love” was also released as Howie’s version. “Joga” and “Bachelorette” were written by Sjon along with Bjork. American critics rated Homogenic highly on chart lists at end of the year. The video for “Bachelorette”, was nominated under the “Grammy for best music video of short format”, but unfortunately lost out to Madonna and her song “Ray of light”. All the tracks from this album made notable news in various popular magazines. Such as MTV saying it was extremely emotional for Bjork, and Musictech magazine said “Homogenic marked the moment when Icelandic experimentalist Bj?rk evolved from a kooky dance-pixie into an electronic titan”.

Specialized critical reception:

         Considered one of the best albums of the 1990s and electronic music, Homogenic has garnered overwhelming critical success since its launch. Commercially, it was a gold record in Canada, the USA, Switzerland and the United Kingdom; platinum in Europe according to the IFPI and reached the Top 10 in ten countries. In highly perfect manner, Bjork tries to rescue the intimate sounds of Iceland, with its homogeneous like ambience. The album was liked by critics for her beats of electronic music and string ensemble performed by the “String Octet Icelandic”.

         The album was highly acclaimed with most of them almost reaching the highest level of notes in magazines, it was also placed on specialized lists of the year's best, or best of alternative music, etc. As well as obtaining several awards and nominations, at the Grammy’s and the BRIT Awards, Rolling Stone Magazine gave the album four stars and an average of five calling it ‘one of the boldest and most exciting albums of the year’. The NME gave the album nine out of ten stars, calling it ‘probably the weirdest but also the best album of the year’.

 

Appreciative conclusion:

         In short, "Homogenic" is perfect. I have no other way to define it. Experimental and different, that's what Bjork offers and what I like so much about her is she is the only one with a daring personality and the ability to make different records like this. I see no issue with it and could not criticize it, the album is unique and special as it is, and change would be the real motive of Bjork. Bravo for Bjork and this piece of music have well conquered the critics, The most successful step had been taken in her career by way of the album “Homogenic”. The cover, which was created by Alexander McQueen and depicts a warrior in a battle but not with weapons but with the power of love.

 

Vespertine by Bjork

Introduction:

         Vespertine is the fifth studio album of the Icelandic musician Bjork, released on August 27, 2001, via One Little Indian Records. It was recorded in multiple locations: Spain, Iceland and the United States in 2000, and the production began during the filming of “Dancer in the Dark”, which was characterized by a conflict between Bjork and the director, Lars von Trier. Vespertine was widely acclaimed by critics. Praise was mainly focused on the intimate and emotional sound, pitch, and technical experimentation. A Cover of Vespertine shows Bjork lying on a rock surface beside a pool, covering her eyes from the sun with one arm and wearing the famous swan dress designed by Marjan Pejoski, his design caused a stir when Bjork wore it to the Oscars in 2000 – the controversial garment featured a swans neck draped around the neck and over the shoulder of the wearer.

Album Development:

         The original title for the album was actually “Domestika”. A song called "Domestika" (originally titled "Lost Keys") was included as a B-side of Pagan Poetry. Bjork said that she decided to call the album "Vespertine" instead of "Domestika" because the title attributed too ideal for everyday noises and moods and she mainly wanted the melodies and beats to be enjoyed by her fans.

         Early versions of the album were leaked on the Internet with some differences to final release. The songs were in a different order, For example, the song "It's in Our Hands" was originally included (but was replaced by the instrumental "Frosti" in the final version), the song “It's Not Up to You” was not included, and some songs were of different titles, including "Pagan Poetry" (“Blueprint"), "Cocoon" (“Mouth") and "Heirloom" ("New"). A remix of "An Echo, a Stain" was also included in the final release remixed by Winterman.

Why was Vespertine considered to be the most anticipated album by Bjork?

         Fans had been anticipating the new album release from Bjork after waiting 3 years since the release of her previous album. And to their delight, "Vespertine" invaded the turntables to relieve them of the anxiety of her imminent return. Indeed "Vespertine" breathed with natural aspects, with the main elements like strings (including harp, fairly present), choirs, as well as discreet and subtle beats. It is far extroverted in comparison to "Homogenic"; and if "Vespertine" is ice in its sounds, its heat lies in the privacy it provides. "Hidden Place" and "Cocoon", the first two singles, were leading the way, and more beautiful tracks kept lining up one after another. "Frosti" is a wonderful instrument-like interlude. Bjork has never disappointed us as she opens and closes with a beautiful album track and there’s simply nothing to get flopped from this album.

         Bjork had always presented us with her amazing music capabilities, and she continues to do so by way of her album “Vespertine”. Hard to say, but firstly, this album is not as obvious as the previous one. To use imagery, this album evokes the winter, fog, past and lazy Sundays under the covers. The whole album is in the grip of the listener supported by crossing choirs, harps and a few violins, hits and rhythmic gurgles of discrete electronic (duo Matmos has done a good job), led masterfully by the magical voice of Bjork. One of the highlights is this unity across all songs, they all tend to show us freedom and the inner beauty of Iceland.

         Between all these songs, are some very minimalist ideas and despite the beauty of the voice or the interest of the connection, it was a bit difficult for the fans to interpret (For example, 'Cocoon', 'An echo-a stain'). Some are less complicated, including 'Pagan poetry' which is probably the best. This is the artwork that is closest to her previous album 'Homogenic'. There is also 'Frosti', which is an instrumental music box, so you enjoy the spectacular magical music by Yann Tiersen. The song 'Aurora' is a hymn to nature, very melodic, whose beginning is punctuated by the sound of footsteps in the snow. Another outstanding song and perfect ending to the album is 'Unison'. In a long crescendo, the singer gives us the very convincing track 'let's unite tonight'. It is a very fresh way and puts in a melodic mood.

Worldwide response and critical acclaims:

         The album reached number 19 on the Billboard 200 in the US and number 8 in the UK Albums Chart. The album was certified gold in Canada, France and the United Kingdom. The album has appeared in several publications lists of the best albums of 2001 and the best albums of the decade, and was often considered the best album of Bjork so far. The album has come to be considered as one of the best ever by publications such as NME, Fnac and journalist Paul Morley, and is included in the book “1001 Albums You Must Hear before You Die” written by Robert Dimery. Vespertine was widely acclaimed by music critics. Rolling stone said…

“The tidy drama of the programming and arrangements on Vespertine suits the physical electricity of Bjork's voice”

 

Pitchfork Media placed Vespertine at number 92 in its list of the 200 best albums of the 2000s. The album peaked at number eight in the UK charts. It also reached number one in Spain, France and Norway, and had sold two million copies by the end of 2001. The album was placed at number 67 on the list of top 100 albums of the decade in late 2009 released by Rolling Stone Magazine. It was also nominated for Best Alternative album at the Grammy Awards 2002 but lost to Radiohead’s “Ok computer”.

 

Conclusive appreciation:

         The entire album is comprised of a body phenomenal music of work by fifteen willful string players, male and female and indubitable savvy staffs. This temporary anecdote serves to explain that music is now preparing Bjork herself, however, she needs this kind of support to acquire the entire splendid dimension and that is "Vespertine".

         Surrounded by a string of orchestra with almost sixty members, the Californian duo, electronic Matmos, New York harpist Zeena Parkins and a chorus of fifteen Greenland Eskimos along with her incredible talent, Vespertine offers one of the most elaborate musical masterpieces that is hard to find now among the international circuits. In short, Bjork won the bet: achieved the perfect drive! The whole album is beautiful piece of musical architecture.

 

Medulla by Bjork

Introduction:

         Medulla is the 6th studio album of the Icelandic singer, Bjork, and it was released in 2004. This is an album devoted to amazing vocals, choral rhythms, and guttural singing, for which she is supported by several singers, including Mike Patton, Leila, Robert Wyatt, Dokaka. Dokaka is an amazing Japanese vocal artist who distinguished himself particularly by covers of Metal bands such as Slayer and Led Zepplin with also input of American beat boxer/rapper Rahzel.

Development of Medulla:

         Bjork struggled to create a title for the album; the album was originally called "Ink". A friend then suggested" Medulla ", a medical term for bone in Latin. Medulla is considered widely as the political album of Bjork, in the fight against racism and American patriotism after the terrorist attacks of September 11, 2001. The political messages are heard throughout the album, especially the song "Mouth's Cradle". Bjork’s "Submarine" is described as a meaningful song to draw your attention to wake up and work. The album features Beat-boxing and rhythmic choral arrangements. All songs were written by Bjork, except for the "Sonnets / Unrealities XI,” which were based on a poem by the famous poet EE Cummings, and the song "Vokuro" was originally compiled by Jorunn Vioar.

What is so unique about the album Medulla?

         Medulla was labeled under “One Little Indian” and produced by Bjork and Mark Bell. The entire album consumes around 45 minutes playback time. The album comprises a total of 14 songs which are all entirely acapella which made the album very famous for almost no musicical instrument usage. The song "Oceania" was presented by Bjork at the opening ceremony of the 2004 Summer Olympics in Athens and the accompanying music video was directed by Lynn Fox. Medulla is included in the book “1001 albums you must hear before you die” as part of the compilation of several international critics.

What are the differences between Medulla and other works of Bjork’s instrumentation?

         As in Vespertine, Bjork fully exploited all kinds of effects in the voices and vocal tones, but in Medulla, the musical strategy was typically different, where Bjork revolutionizes predominantly voice with almost no music at all. The "fusion" between the voice of Bjork and a diverse number of contributors to this album is excellent. Medulla completely portrays music as a work of art that is definitely rare and elusive talent.

         As an artist, Bjork has shown herself in the purest sense of the word, as a musician who can create her own world with a personal vision of reality associated with her work. Her musical talent is not only the result of a gift, but the insatiable work of someone who has never abandoned what has been proposed and this is highly visible in her beautiful composition of Medulla.

How well Medulla was rated by critics?

         Reviews for the album were very positive. The Guardian said ‘it is an album which enforces on so much of the uniqueness and courage’. Bjork received two nominations for Grammy awards for Medulla, including the Best Female Pop Vocal Performance for "Oceania" and for Best Alternative Music Album. The album has a rating of 84/100 on Metacritic reviews.

         The voice was always the focal point in Bjork's career, but never so inventive and carefully harnessed as you can see in Medulla. Considering the first to the last song on accurate vocal assemblies, the record almost completely excluded the presence of other musical instruments and components, expanding the intimate character of the work and ensuring a sense of novelty to the world of the singer. The sober beats the well-designed game of musical bases, where each album step is developed on top of harmonies to the delicate beats, constant use of beat box and a chorus of voices that meet all the workspaces with a sense of perfection.

         The guaranteed detailing of the disc's size, is heard in songs like “Where Is the Line” and “Oceania”, even the bass lines, or electronic beats seems to exclude the unusual character of the work. With recordings scattered around the globe, Medulla reinforces the verses and the political side of the singer, which brings out the existentialist part of Bjork and charged lyrics of old romanticism, discusses racism, death and even the terrorist attack of September 11 over the record. These are some highlighted critical responses across the globe.

Interesting facts associated with medulla:

         In "Medulla", the Icelandic music legend undresses instrumentation to basically build an ambitious voice collage in some passages and suggestions from others, especially those with quasi-medieval invocations that seem to lead to Icelandic images in black and white and collation of Nordic landscapes.

         Bjork brings a sensitive transfer primarily when using her native language, causing the listener to be framed up within her vocal juggling and expressiveness of unique locations. Particularly, this is highly appreciable in "Vokuro", the most beautiful and elegant track compilation and the only single not written by Bjork herself. She was very well accompanied by the Icelandic Choir; thereby adopting great piano music and each and every single minute of the album makes you wonder how this music tone can be done.

         Other interesting tracks are "Show forgiveness me" which has a theme of appreciable beauty in which only a vocal is used and is thus completely acappella. "Oceania" a song which was performed by Bjork at the Olympic games in Athens 2004 and has wonderful female vocals and other aquatic dancers along with Esther Williams accompanying. All the songs sum up with powerful electronic compositions.

         Always breaking the conformism of the barriers she found before her, Bjork has presented her awesome work, "Medulla", with boldness and challenges normality.

Concluded Summary:

         Breaking the homogeneity of Bjork’s latest incursions, the cold "Homogenic" and the introverted "Vespertine", the symphonic "Medulla" is a project of varying extremes, which moves between the past and the future, the modern and the archaic, delicate and provocative, always with the focus of the voice, and with the intention of creating different records and textures. Highlights include "Pleasure Is All Mine” and "Show Me Forgiveness", these songs follow in the same trench, which is broken abruptly in the next track, "Where Is The Line" which has truncated beats, beat-box and vocal bass.

         Notably "Vokur" is based on a composition for piano, this brings again, the participation of the Iceland Choir performing a beautiful vocal arrangement. "Who Is It" comes in with the right beat, decelerated English and 'beat' rap vocals. "Oceania", sung in the last (2004) Olympics comes with broken beats and vocals of a London Choir.

         Medulla is a beautiful work of a bold artist who never stops surprising us with her albums, although not always understood by all, Bjork never fails to bring freshness and new trends to pop music.

 

Volta by Bjork

Introduction:

         Volta is the seventh studio album by the famous Icelandic singer, Bjork. This album is focused on emotional impulse, more than logic and expectation. It is less introspective than Medulla, with it being more focused on the environment rather than the body and mind. It consists of 10 tracks altogether. The popular theme of Volta is an analogy of the force of nature (in particular, the tsunami of 2004) against the human beings. The album was officially released on May 2, 2007, despite suffering a previous accidental publication on iTunes at midnight on April 23, 2007 for a total of six hours. Volta was certified silver in the UK charts.

Album development:

         During the pre-release of the Volta album, much of the media were praising the album as a return to "pop music" as it had a pop style in comparison to Bjork’s previous albums. Simultaneously, the news of Bjork working with Timbaland spread throughout the internet, and many websites began to speculate on whether the album would be with a twist of "hip hop" flavor. Anyway, during the first promotional interview for Volta, Bjork was quoted as saying that the new album would be "full and big body."

         Curiously, the online iTunes store in England accidentally made available to users the full album on April 23, several weeks before its official launch scheduled for May.

Who were the notable contributors alongside Bjork?

         Timbaland worked with Bjork for three songs on this album (“Earth Intruders”, “Innocence” and “Hope”). Sixteen songs were recorded during the recording sessions, which were recorded in downtown Manhattan in New York, USA. Jimmy Douglas and Halsey Quemere were engineer and assistant engineer respectively. For a moment, Timbaland thought to include one of the songs he wrote with Bjork on her new album, but later, he decided to drop it. The first single from Volta - Earth Intruders, is co-produced by Timbaland.

         The other musicians who contributed a great deal to the album were Antony Hegarty, Brian Chippendale, Chris Corsano, Toumani Diabate, Mark Bell, Sjon, Konono, Min Xian-fen and Kora Malian.

Inspiration behind Volta:

         Bjork had explained that she does not remember how it happened, but she searched Google and found that Volta is the name of a scientist in Italy, who invented the battery, and also a river in Africa, which had been built by men, and also a lagoon, built by men known as Lake Volta. So, various facts comprise as part of the name Volta. Bjork had wished to name her album something significant, so that people can figure out for themselves what it is. There is also a medieval dance of that name, a fun ancient dance that is very difficult to learn. Therefore, Volta has a lot of things in just one word: a dance, a river in Africa, a lagoon, and a battery. The lyrics of the song “Dull the flame of desire” are an English translation of a poem by a Russian poet, Fyodor Tyutchev, and it appears in the film "Stalker" by Andrei Tarkovsky.

         Bjork visited Banda Aceh, Indonesia, in 2005, after that area was badly hit by the Tsunami in 2004, she was seriously shocked by the casualties caused by the monstrous natural disaster of a couple of seconds. This gave her the background idea of the song “Earth Intruders”

 

How Volta has attributed to Bjork’s musical journey?

         The overall balance of the album, in general, has never been in trouble as it meets the expectations of the fans. Each element has its place in the overall decor of the work. Among all, the masterpiece is obviously “Dull the Flame of Desire”, with an amazing contribution of Antony Hegarty, whose unique voice perfectly reveals music’s elegance opposite to that of typical Icelandic musician. Musical touch between the two great voices merge into one another without ever conflicting, thereby resulting in a perfect composition.

         But what surprises me the most about Volta? Bjork’s Volta has the ability to constantly stand out, but tiny ruptures are linked within the album, with songs in various genres, with different influences and aesthetic mix of classical tunes. This album is the one to have caused excessive promotional tours by Bjork to many nations like Brazil, Argentina, Peru, Columbia, Mexico and more.

Controversies involved with the album Volta:

         The Asian tour of Volta was marked by various controversies due to political speeches and statements expressed by Bjork while singing the song "Declare Independence ". The first controversial incident occurred in Japan when the Icelandic singer marked few comments claiming Kosovo and Serbia are in a conflict-ridden history, followed by the declaration of Balkan as an independent province. This behavior led to complaints from the organizers of the Exit Festival in Serbia, an event in which Bjork would be the main artist. The press team of the singer released a mail from the organizers, which indicated that the artist would be excluded from the festival.

The second incident happened in China when she dedicated "Declare Independence" to the region of Tibet, subjected to repression for years by the Chinese government. This triggered the annoyance of the cultural authorities of the country considering that Bjork had offended the feelings of the Chinese people, in addition to this she violated the country's laws, which prohibit foreign artists expressing their political opinions. As a result, China evaluated the limitation of the performances of foreign artists.

Appreciative Summary:

         The album, “Volta” by Bjork revolves around paranoia, challenges and alienation of love. It expresses a richer work of rhythms, which gives greater importance to the instrumentation. While voice still has an important role, it is not as vocally focused as 'Medulla' (2004), Volta is produced entirely by Bjork, but also had involved the rap and hip-hop artist Timbaland, who co - produced three of the 10 songs that constitutes the entire “Volta” album. It is widely considered that the record is an inspiration of hip-hop music in the instrumentation form. Volta provides a truly volatile experience for the fans. The full album is inspired by great orchestrations and moments that cannot lock up more vulnerability. There’s no doubt that Bjork will produce more great music in the future.

 

Biophilia by Bjork

Introduction:

         Biophilia is the eighth album by the famous artist Bjork. Published as an iPad and an iPhone application, it reflects its graphical and musical universe, through visual narratives and games about completing the songs. Biophilia is a multimedia exploration of music, technology and nature by the God-gifted musician, Bjork. The album consists of original music, along with interactive applications, of living residences in addition to educational workshops.

Concept Development of Biophilia:

         The concept developed by Scott Snibbe and Parisian designers M / M combines interactive content for each song (inclusive of games, tests console to remix, lyrics, various texts). The aim is to enrich the usual listening experience and enhance the enthusiasm of the fans by immersing in the universe imagined by Bjork. The artist creates a new way of consuming music. The album is thus a star among many others in the constellations as the name indicates. And it's not the biggest but the brightest.

         Like Medulla and Volta, Biophilia is a demanding album, with arty, difficult, and sometimes cold, lonely and joyless expressions. At the start and throughout the album, Biophilia is an exciting adventure, a sidereal and transverse view, a potentially exciting trip in search of the music of the spheres.

Did Bjork achieve the perfect balance of music in Biophilia?

         Amongst Bjork’s vast body of work, it has always been a research question: the quest for a perfect balance between her thirst for sonic explorations and deep rooting pop. Like two sides of a schizophrenic personality, one the one hand sometimes the singer, she kept grounded, on the other hand now she has been bullied by her visionary delusions. And her discography, which is always demanding, is almost beyond reproach by way of Biophilia. The balance here is very perfectly attained next to "Debut" and "Post". while "Biophilia" sees again the center of gravity rise in limbo within the second we hear the tracks.

         Biophilia is a perfectly themed album and nothing less than the most successful record of the Icelandic singer since the last century. Bjork is in sparkling form and her vocal prowess remains impressive, one appreciates the kind of acrobatics in which she engages on a title such as the Mutual Core.

What impressive contributions are associated with Biophilia?

         The work on the choruses, in particular, is absolutely remarkable and makes us recall the crazy project "Medulla" except that Bjork’s Biophilia tracks are based on similar rhythmic structures of digital hardcore, and it avoids the harmonic flourishes floating in space. The last minutes of Crystalline are positively awesome and make us remember why Bjork is one of the few artists to have defined the sound of the new millennium.

         Exploits are many on "Basophilic", from the fairy harp game that opens clouds in front of the Moon as it would draw the curtain behind which lies an enchanted forest. Not to immediately immerse the listener in the modernist oppression, this first title lets in a large amount of space. All around, the decor is not bare, air basely; it is populated instead of entire constellations, such as those that line the pocket again in a magnificent way. But the distance is tangible, so that between the stars, and us fantasies have every opportunity to interfere.

         The air is gradually becoming scarce on Thunderbolt, there is a moment of union with the essence of all things, this kind of miracle Bjork seems to hold the secret for some past life: "My romantic gene is dominant and it Hungers for union, universal intimacy, all embracing.” This is truly amazing!

What is the complete theme of Biophilia?

         En route to the symbiosis, the singer made a nostalgic trip through the origins of the world and one is almost convinced, for a time, she was really privileged to witness Cosmogony, as begins with a terrifying fall into infinity: This reminds of the Requiem by Gyorgy Ligeti in 2001, Biophilia make the heart jump up to the throat, fortunately short-lived, as the song is then deployed in all its humble majesty confronting mythologies to better reconcile with one and another.

         Bjork exhibits the scene of a sobering diva, as an ancestral voice that is highly inviting. Dark matter seems that none of the residue on which the Icelandic comes to herself, drifting weightlessly and hesitant to dive into space to look for the answers that she is missing. Hollow is the horrific history of this dive, a stationary stirring crisis where Bjork is to find her place in the great human chain. This is a wonderful theme that had never been elsewhere.

Notable singles and collaborations included on Biophilia:

         Bjork had worked with several collaborators, as she had done on her early albums which include Mark Bell and Sjon. "Crystalline" is the main single from the album, released on 27 June 2011.

         The release of "Crystalline", was preceded by three teasers: The first, entitled "Road to Crystalline" we can see Bjork driving the van across a road in Iceland while playing an excerpt from one version, so far unpublished music; in the second, we could see one of the new instruments developed for performances in Manchester, which also performs on the track: the "Gameleste", which has been modified so it could be run remotely by an iPad; and in third teaser, remix of the recording sessions with Omar Souleyman were shown.

         The Serban Ghenea mix of the song was leaked on the Internet on 25 June 2011. The album Digipak edition includes "Nattura" a song which did not feature on the original Biophillia album, while the Japanese edition will also include the single 2010, "The Comet Song".

Appreciative Summary:

         Commercially, the album debuted at twenty-seven on the US Billboard 200, and the first position on the Billboard Dance / Electronic Albums. In the UK, Biophilia debuted at number twenty-one, the first Bjork album not to go in the first ten positions. Biophilia is the first "studio album in the application format" in the world, in collaboration with Apple. Musically, the album is structured as a kind of ethereal instrumental opera. Each track describes a type of natural or cosmic phenomena. The title is a general representation of the sense of connection with nature and other forms of life’s innate character and the evolutionary product of natural selection. Overall, this is a great album.

 

 

 

 

Vulnicura by Bjork

Introduction:

         Vulnicura is the ninth album from Bjork. The album was produced by Alejandro Ghersi, The Haxan Cloak and the singer Bjork. It was released on 20 February as 2015 by the record label “One Little Indian Records”. The album was released before its scheduled date (March 20) due to an online leak, which was launched two months previous 2015 without promotional singles. Bjork said the album describes her feelings before and after the relationship she had with artist Matthew Barney. It was reviewed that the expectations for this new album were very high, with much anticipation generated by the media over the years, as the production was kept secret.

Vulnicura The Development of the album:

         The beginning of the composition of the songs of "Vulnicura", by the singer began in late 2012, during and after the massive dissemination of audiovisual album "Biophilia" in 2011. This album was marked in the music industry for being the first album released in the format under "album-application" in an innovative strategy of pioneering artist experience along with musical instruments.

         Right at the end of 2014 the mysteries were being clarified, as the revelation of the participation of the producer Arca on the record and announcements of various shows throughout the year. This led to an even greater amount of anxiety for what was to come - followed by a leak of low quality tracks from the album and a sudden release on iTunes after appearing on the internet.

What is so special about the concept of Vulnicura?

         The concept of the album is purely based on the broken heart of the musician where she brings up her emotions in three parts: "before", "after" and "cure", as described in the album’s liner notes. However, it is interesting to note that despite the history of each track being described in each of the parts mentioned above, the album is built on top of only three elements: strings, vocals and beats, which symbolically are related to the way the album is structured.

         When listening to the nine tracks, the first thing that the listener may notice is that the orchestrated strings represent the feeling of "safe haven" of the singer after spending so many years with her ??husband and have built a family with him, and her sudden realization that somehow, possibly all would end.

Notable Tracks of the album:

         It is the first part of the album, which includes the triad of songs "Stonemilker", "Lion Song" and "History of Touches”. We can find the most harrowing compositions or perhaps not as harrowing as well, but in a touching and surprising way by applying Bjork’s music. "Stonemilker" – is pointed out by fans, as next to "Family" as one of the best tracks on the album. From the next track, "Lion song", we can also notice certain euphoria (very common throughout the album) and despair in verses. The third track, "History of Touches," concludes the trio of songs that relate to the period before the end, and is also the shortest of the album, but no less intense than the others. This is a simple song featuring aggressive rhythms, which more resemble pianos having keystrokes with force and anger, as is common in some films with themes similar to drive the concept.

         "Blake Lake" is one of the best and the longest track with over 10 minutes and it symbolize the characteristic feeling of the end of a relationship. The seemingly irregular instrumental of the song is as magical as the meaning of the above verses, coming to clash with the breath around four minutes when it reaches its peak quickly and then be perfectly finished by a wave of one of the most beautiful melodies ever. The next song, "Family", translates directly through synthesizers and beats and serious indignation and bitterness of the singer is very well portrayed. The singer's background vocal commences floating amid acoustic and synthesized strings that quickly connect with the next song "Notget".

How Vulnicura expressed the pain of love?

         The vocals of the singer are definitely more attractive and melodic, perhaps as a result of the removal of nodules detected during the first promotion shows of "Biophilia" and conveying the sense of shock and sudden sadness and desolation that followed after separation. It is rather surprising to hear such confidence in the sung melodies and has a perfect capacity that result in suffering the listener. As depressing the melodies may sound when sung by her voice, it is undeniable that the singer had never before presented such beautiful vocals and sweet vocals on an album.

         At the end of the album, the songs still follow the patterns of the past, but seem to take an introspective tone as the concepts of what is needed to heal the recently ended relationship of pain are developed. It is also notable that the speed of the songs begins to accelerate from "Atom Dance," a duet with singer Antony Hegarty, leader of the band Antony and the Johnsons. The song comes to the fun look while the singer sings the verse "Let this horrible wound breathe" - as seen on the cover of the album - but by the end of the song, some hits that look like water droplets simulate a kind of claustrophobic feeling.

         The penultimate song of the record represents the epic journey of the singer in search of surrender of the end of her love pain, "Mouth Mantra" is almost a direct continuation of the previous track, in which the singer makes even clearer the sensation of pain from translating a heartbroken music for his own soul, which sometimes gets to be hard to breathe because of the influence of pain. The final song of the album, "Quicksand" is the one with the most euphoric beats.

Appreciative Conclusion:

         "Vulnicura" is an exemplary album with perfect consistency. It's amazing how absolutely all the elements, from cover letters, composing melodies, instrumentation and production resulted in a homogeneous product that performs in all respects and perfectly bringing the main concept of Love. Bjork, the singer made ??good use of her long career music to surrender completely to her own vulnerability, pain and intimacy to get rid of the demons that haunt her, healing by doing what she has always done best, thereby presenting us with a premium quality of music.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Conclusion:

         In conclusion I have learnt it is clear that Bjork’s experimental instrumentation is one of a kind, the techniques she uses that have been adapted to fit with the genre of each album make Bjork one of the most technological innovators of music in the past and current time, making her one of the most unique artists of the century.

         The way Bjork’s music expresses itself is all down to how Bjork felt at the current time in her life whether it was heartache or fear, which can be felt in each song on each album, listening to a Bjork record gives an insight into the personal realm of a very interesting artist.

         In each chapter I have tried to explain the complexity of the production and the instrumentation used for that album to the best of my knowledge. In my personal opinion the emotional depth Bjork uses to create and perform her music can not be re created by anyone else apart from as it is unique to her. For Bjork her records are not just music they are parts her inner being and soul being expressed in the form of music.

         The purpose and intention of this dissertation was to investigate Bjork and explore her experimental instrumentation of her past albums; this was met and broken down album by album to reveal the depth and meaning concealed within her music. The question that remains to be answered: is Bjork a pioneer of a unique sub genre that is her own? Judging by the research obtained, and in my own opinion I would say most definitely, and we are lucky to be blessed with her music and political stance on today’s world.

 

 

 

 

 

 

 

Bibliography

Post references:

1. Stereogum Presents… enjoyed: A tribute to Bjork’s post (2010) Available at: https://www.stereogum.com/enjoyed/ (Accessed: 25 April 2016).
2. Bj?rk (2016) Bj?rk - post Discogs.
3. Mackay, E. and COM, N.E. (2016) Bjork’s ‘post’ 20 years on: How the Icelandic genius created A glossy, future-focused avant-pop wonderland. Available at: https://www.nme.com/blogs/nme-blogs/bjork-s-post-20-years-on-how-the-icelandic-genius-created-a-glossy-future-focused-avant-pop-wonderla (Accessed: 25 April 2016).
4. Henderson, E. (2003) Bj?rk post | album review. Available at: https://www.slantmagazine.com/music/review/bjork-post (Accessed: 25 April 2016).
5. Ali, L. (1998) Bjork post album review. Available at: https://www.rollingstone.com/music/albumreviews/post-19980202 (Accessed: 25 April 2016).

 

1. Shaw, A. (2015) Bj?rk’s classic album post. Available at: https://nerdist.com/throwback-thursday-bjorks-promiscuous-post-turns-20/ (Accessed: 25 April 2016).

 

Debut references:

 

1. Graves, T. (1993) Bjork debut album review. Available at: https://www.rollingstone.com/music/albumreviews/debut-19930902 (Accessed: 25 April 2016).
2. Inc, G.M.G. (no date) Debut by Bj?rk. Available at: https://genius.com/albums/Bjork/Debut (Accessed: 25 April 2016).
3. (No Date) Available at: https://rateyourmusic.com/release/album/bjork/debut/ (Accessed: 25 April 2016).
4. Hamilton, J. (2013) Bjork’s ‘debut’ turns 20: Backtracking. Available at: https://www.idolator.com/7470313/bjork-debut-anniversary-20-backtracking (Accessed: 25 April 2016).
5. Cragg, M. (2016) Bj?rk’s debut: Celebrating 20 years of innovation. Available at: https://www.theguardian.com/music/musicblog/2013/jul/05/bjork-debut-20-years-of-innovation (Accessed: 25 April 2016).
6. Van Hooste and, W. (2015) ‘Debut’ (1993) by Bj?rk ? ROK. Available at: https://rokmusik.co/debut-1993-by-bjork/ (Accessed: 25 April 2016).

                          

Homogenic references:

1. Landmark productions: Bjork – Homogenic (2014) Available at: https://www.musictech.net/2014/12/landmark-productions-bjork-homogenic/ (Accessed: 25 April 2016).
2. Landmark Productions Bjork Homogenic(2014) Available at: https://2.https://www.musictech.net/2014/12/landmark-productions-bjork-homogenic/ (Accessed: 28 April 2016).
   • Cragg, M. (2015) My favourite album: Bj?rk – Homogenic. Available at: https://www.theguardian.com/music/musicblog/2011/sep/19/bjork-homogenic (Accessed: 25 April 2016).
3. (No Date) Available at: https://rateyourmusic.com/release/album/bjork/homogenic/ (Accessed: 25 April 2016).
4. Chonin, N. (1997) Bjork Homogenic album review. Available at: https://www.rollingstone.com/music/albumreviews/homogenic-19971003 (Accessed: 25 April 2016).

 

1. Spotify web player - Homogenic - Bj?rk (no date) Available at: https://play.spotify.com/album/6HLUZogZcItLXDTnIEmUZv?play=true&utm_source=open.spotify.com&utm_medium=open (Accessed: 25 April 2016).
2. Basye, A. (2011) The musician and the designer: Bjork and Alexander McQueen create magic. Available at: https://onthisdayinfashion.com/?p=5853 (Accessed: 25 April 2016).
3. Dickey, J. (2011) Put A Bj?rk in it: How A 14-Year-Old album is still influencing music. Available at: https://deadspin.com/5842521/how-a-14-year-old-bjork-album-is-still-defining-alternative-pop-and-hip-hop-today (Accessed: 25 April 2016).

 

Vespertine references:

1. Bjork ‘Vespertine’ coloured double vinyl LP reissue (2016) Available at: https://www.lostinvinyl.org/vinyl-page-2/bjork-vespertine-coloured-double-vinyl-lp-reissue-release-date-9th-march-2 (Accessed: 25 April 2016).
2. Shoup, B. (no date) Counting down. Available at: https://www.stereogum.com/1266692/bjork-albums-from-worst-to-best/franchises/counting-down/attachment/vespertine/ (Accessed: 25 April 2016).3.      https://pitchfork.com/reviews/albums/727-vespertine/
3. Widder, K. (2016) Bj?rk: Vespertine. Available at: https://www.popmatters.com/review/bjork-vespertine/ (Accessed: 25 April 2016).
4. Staff, E. k (2001) Review: Bjork - Vespertine. Available at: https://www.sputnikmusic.com/review/40845/Bjork-Vespertine/ (Accessed: 25 April 2016)
5. Hubbard, M. (2001) Bj?rk - Vespertine | albums. Available at: https://www.musicomh.com/reviews/albums/bjork-vespertine (Accessed: 25 April 2016).
6. Drake, N. (2005) Vespertine by Bj?rk. Available at: https://www.besteveralbums.com/thechart.php?a=1475 (Accessed: 25 April 2016).
7. https://www.rollingstone.com/music/albumreviews/vespertine-20010820

Medulla references:    

1. Coote, J. (2016) ‘“I’m elastic for you”: Conception and creation in Bj?rk’s “Medúlla”’, .

 

1. Ross, A., Sanneh, K. and Orlean, S. (2004) Bj?rk’s saga. Available at: https://www.newyorker.com/magazine/2004/08/23/bjorks-saga (Accessed: 25 April 2016).
2. Malawey, V. (2010) MTO 16.1: Malawey, harmonic stasis and oscillation. Available at: https://www.mtosmt.org/issues/mto.10.16.1/mto.10.16.1.malawey.html (Accessed: 25 April 2016).

 

1. Ross, A. (2015) How Bj?rk broke the sound barrier. Available at: https://www.theguardian.com/music/2015/feb/15/bjork-delta-archives-alex-ross (Accessed: 25 April 2016).

 

1. Johnson, E. (2015) Sonnets and Unrealities: Bjork and ee cummings - queen mob’s tea house. Available at: https://queenmobs.com/2015/04/sonnets-and-unrealities-bjork-and-ee-cummings/ (Accessed: 25 April 2016).

 

1. Gladstone, M. (2015) MoMA’s Bjork exhibit is for Superfans only. Available at: https://www.racked.com/2015/3/10/8183175/momas-bjork-exhibit-is-for-superfans-only (Accessed: 25 April 2016).

 

1. Beta, A. (2016) Bj?rk: <I>Medulla</I>. Available at: https://www.citypages.com/music/bjrk-medulla-6695162 (Accessed: 25 April 2016).

 

1. Biesenbach, K. and Dazed (2015) Live from the set of Bj?rk’s black lake. Available at: https://www.dazeddigital.com/music/article/23874/1/bjork-a-song-of-fire-and-ice (Accessed: 25 April 2016).

 

1. Farber, J. (2011) ‘Biophilia’ review: Bjork delivers plenty of gimmicks. Available at: https://www.nydailynews.com/entertainment/music-arts/biophilia-review-bjork-delivers-plenty-gimmicks-doesn-music-momentum-article-1.962054 (Accessed: 25 April 2016).

 

1. Mueller, M. (2007) Like someone in love: Bj?rk vs. Chet Baker. Available at: https://www.cover-vs-original.com/song-292.html (Accessed: 25 April 2016).

 

Volta References

 

1. Henderson, E. (2007) Bj?rk Volta | album review. Available at: https://www.slantmagazine.com/music/review/bjork-volta (Accessed: 25 April 2016).

 

1. BBC (2007) Music - review of Bjork - Volta. Available at: https://www.bbc.co.uk/music/reviews/mwvr (Accessed: 25 April 2016).

 

1. Strain, D. (no date) A world to win. Available at: https://www.aworldtowin.net/reviews/BjorkVolta.html (Accessed: 25 April 2016).

 

1. Hermes, W. (2007) Spirit of invention defines Bj?rk’s ‘Volta’. Available at: https://www.npr.org/templates/story/story.php?storyId=10080632 (Accessed: 25 April 2016).

 

1. Miller, D. (2007) Bjork - Volta - review. Available at: https://www.stylusmagazine.com/reviews/bjork/volta.htm (Accessed: 25 April 2016).

 

1. Petrusich, A. (2007) Pitchfork: Bjork discusses ‘independence’, videos, Grammys. Available at: https://web.archive.org/web/20080105035111/https://www.pitchforkmedia.com/article/news/47710-bjork-discusses-independence-videos-grammys- (Accessed: 25 April 2016).

 

1. Volta (reissue) at Juno records (1996) Available at: https://www.juno.co.uk/products/bjork-volta-reissue/564229-01/ (Accessed: 25 April 2016).

 

1. Album reviews - Bj?rk ‘Volta’ (2007) Available at: https://www.cluas.com/indie-music/Album_Reviews/tabid/87/EntryId/219/Bjork-Volta.aspx (Accessed: 25 April 2016).

 

1. k NOw, T. (2011) Bj?rk goes experimental in ‘Volta’ - the kNOw youth media. Available at: https://www.theknowfresno.org/music-review/bjork-goes-experimental-in-volta/ (Accessed: 25 April 2016).

 

1. xolondon (2014) The middle Eight. Available at: https://xolondon.blogspot.in/2007/05/review-bjorks-volta.html (Accessed: 25 April 2016).
2. Behance (no date) Available at: https://www.behance.net/gallery/25866903/Volta-Bjoerk (Accessed: 25 April 2016).

 

1. dzofar (2010) Traffic. Available at: https://bjorkfont.blogspot.in/2009/04/bjork-font-volta-font.html (Accessed: 25 April 2016).

 

1. Hubbord, C. (2015) BJ?RK || Volta - REVIEWS. Available at: https://www.urchicago.com/reviews/2007/5/8/bjork-volta.html (Accessed: 25 April 2016).

 

1. Builder, M. (2015) Hello, bustle.Com only works with JavaScript. Available at: https://www.bustle.com/articles/66290-the-11-iconic-bjork-outfits-that-ill-be-looking-for-at-her-upcoming-moma-retrospective (Accessed: 25 April 2016).

 

 

Biophilia references:

1. Ministry for education (no date) Biophilia educational project. Available at: https://biophiliaeducational.org/ (Accessed: 19 April 2016).

 

1. Suarez, J. (2014) 5 things we learned from Bj?rk’s magical ‘Biophilia’ documentaries. Available at: https://www.rollingstone.com/music/features/bjork-biophilia-attenborough-documentary-20141003 (Accessed: 19 April 2016).

 

1. Wollman, D. (2014) Bjork\’s interactive \‘Biophilia\’ album is the first app to join MoMA\’s permanent collection. Available at: https://www.engadget.com/2014/06/13/bjork-biophilia-first-downloadable-app-in-moma/ (Accessed: 19 April 2016).

 

1. Pytlik, M. (2011) Bj?rk: Biophilia. Available at: https://pitchfork.com/reviews/albums/15915-biophilia/ (Accessed: 19 April 2016).

 

1. Snibbe, S. (2011) Bj?rk: Biophilia. Available at: https://www.snibbe.com/biophilia/ (Accessed: 12 April 2016).

 

1. Richards, J. (2011) Bjork talks about how nature inspired her new, high-tech album. Available at: https://www.theatlantic.com/entertainment/archive/2011/10/bjork-talks-about-how-nature-inspired-her-new-high-tech-album/246281/ (Accessed: 12 April 2016).

 

1. Burton, C. (2011) How Bjork’s ‘Biophilia’ album fuses music with iPad apps (wired UK). Available at: https://www.wired.co.uk/magazine/archive/2011/08/featuresyuyh/music-nature-science (Accessed: 12 April 2016).

 

Vulnicura references:

1. Asaph, K.S. (2015) Bj?rk: Vulnicura. Available at: https://pitchfork.com/reviews/albums/20181-vulnicura/ (Accessed: 25 April 2016).
2. Kornhaber, S. (2015) Bj?rk’s ‘Vulnicura’ is the definition of devastating. Available at: https://www.theatlantic.com/entertainment/archive/2015/01/bjorks-vulnicura-is-the-definition-of-devastating/384735/ (Accessed: 25 April 2016).
3. Kreps, D. (2015) Bjork ready to ’start anew’ and move on from ‘Vulnicura’. Available at: https://www.rollingstone.com/music/news/bjork-explains-canceled-shows-eagerness-to-move-vulnicura-20150810 (Accessed: 25 April 2016).

 

1. Jones, D. (2015) Bj?rk’s Vulnicura remixed – part 3. Available at: https://www.dazeddigital.com/music/article/26759/1/bjork-s-vulnicura-remixed-part-3 (Accessed: 25 April 2016).
2. Kaye, B. (2015) Bj?rk announces limited edition Vulnicura live album. Available at: https://consequenceofsound.net/2015/10/bjork-announces-limited-edition-vulnicura-live-album/ (Accessed: 25 April 2016).
3. Claymore, G.T. (2015) Bj?rk announces limited edition Vulnicura live album. Available at: https://www.stereogum.com/1839180/bjork-announces-limited-edition-vulnicura-live-album/news/ (Accessed: 25 April 2016).

 

1. Hval, J. (2015) Jenny Hval talks Bj?rk’s Vulnicura. Available at: https://thetalkhouse.com/music/talks/jenny-hval-talks-bjorks-vulnicura/ (Accessed: 25 April 2016).