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Track List
01) Hunter
02) Jóga 
03) Unravel
04) Bachelorette
05) All Neon Like
06) 5 Years
07) Immature
08) Alarm Call
09) Pluto
10) All Is Full of Love
01) Hunter
02) Jóga
03) Unravel
04) Bachelorette
05) All Neon Like
06) 5 Years
07) Immature
08) Alarm Call
09) Pluto
10) All Is Full of Love
4:15
5:05
3:17
5:16
5:53
4:29
3:06
4:19
3:19
4:32
Data Complete
80%
Total Rating
80%Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1997
Experimental
Quirky
Electronic
---
Medium
Album
0 copies
Album Description
Available in:
Homogenic ist das dritte Studioalbum der isländischen Sängerin Björk.
Es entstand innerhalb eines Jahres in Spanien. Im Gegensatz zu den vorhergehenden Alben setzt Björk in Homogenic eher auf Streicharrangements, welche vom brasilianischen Jazz-Musiker Eumir Deodato stammen. Dazu gesellen sich wie auch auf Post und Vespertine verschiedene elektronische Trip-Hop- bzw. Techno-Beats mit volkstümlichen Akkordeontönen. All dies erzeugt Klanglandschaften, mit denen Björk vor allem ihre Heimat Island musikalisch festhalten wollte. Optisch belegt wird dieses Vorhaben im Musikvideo zum Lied Jóga. Die Geigen symbolisieren dabei die sich weit ausdehnenden isländischen Landschaften, während schroffe Beats für ausbrechende Vulkane stehen. Verbunden werden diese musikalischen Experimente durch die manchmal sentimentale, manchmal kräftige Stimme von Björk. So entsteht eine Art Mixtur, deren Energie vor allem im Lied Bachelorette spürbar wird.
Es erreichte in den USA und Großbritannien Gold-Status. In Frankreich wurde Homogenic für mehr als 500.000 verkaufte Tonträger mit zweifachem Platin ausgezeichnet.
Das Cover-Foto des Albums stammt von dem englischen Mode-Fotografen Nick Knight, der für viele Fotografien von Björk verantwortlich zeichnet. Die Hülle wurde von dem Modedesigner Alexander McQueen entworfen.
(Wikipedia)
User Album Review
Bjork is one of the most difficult of all contemporary musicians to criticize, because she always seems to be one step ahead of the criticism. She is so thoroughly unique that any negative opinion would almost certainly be subject to review, since it is hard to imagine a reviewer who would be capable of claiming that he or she understands the work well enough to bring it down a peg or two. Much of Bjork’s work seems foreign simply because she is; it is rare for a woman from Iceland to conquer the world market. Her unusual style can certainly be attributed to her Scandinavian upbringing, and I believe (uh-oh, here I go) that this is most likely because she was fairly isolated from ‘standard’ (i.e., American, indigenous, blues-based) music structures. In addition, though, there can be little doubt that Bjork is one of the most willful artists of this era.
Her songwriting is opaque and mysterious, but not unpleasant, kind of like night swimming. It is something that can be appreciated solely for the textures, for the aesthetic experience, even if you cannot make out exactly what it is that you are basking in. Bjork is intelligent enough to reach into unknown territory, but what she brings back is so personal and unusual that it is hard for most others to follow her. If you hang on, it should eventually pay off, but an open mind is essential to finding the key to her work. Homogenic is rich with string arrangements and kinetic percussion programming, both of which supply the musical backbone to her melodic flights of fancy. Occasionally, repetition stands in the way ("Joga" had my sons laughing at seemingly endless the chorus melody) but she is off on a path of her own, and I for one am willing to follow her.
It seems as though females are much more inclined to break down melodic barriers and search for a truly unique means of expression than most men are. Joni Mitchell, Kate Bush, Tori Amos, Sophie B. Hawkins and Jane Siberry are but a few who have taken melody into their own hands and attempted to transform it beyond typically recognizable boundaries. Since Joni Mitchell, Bjork has been the most successful at this game, putting an unpredictable spin on almost everything she touches. Make no mistake – these are Bjork’s songs, and they aren’t meant to be performed by anyone else (although it isn’t impossible, just unlikely). Nobody else could do justice to work that is so personal. Rather than criticize what I cannot understand, I will just bask in it and let it wash over me.
External Album Reviews
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User Comments
Available in:
Homogenic ist das dritte Studioalbum der isländischen Sängerin Björk.
Es entstand innerhalb eines Jahres in Spanien. Im Gegensatz zu den vorhergehenden Alben setzt Björk in Homogenic eher auf Streicharrangements, welche vom brasilianischen Jazz-Musiker Eumir Deodato stammen. Dazu gesellen sich wie auch auf Post und Vespertine verschiedene elektronische Trip-Hop- bzw. Techno-Beats mit volkstümlichen Akkordeontönen. All dies erzeugt Klanglandschaften, mit denen Björk vor allem ihre Heimat Island musikalisch festhalten wollte. Optisch belegt wird dieses Vorhaben im Musikvideo zum Lied Jóga. Die Geigen symbolisieren dabei die sich weit ausdehnenden isländischen Landschaften, während schroffe Beats für ausbrechende Vulkane stehen. Verbunden werden diese musikalischen Experimente durch die manchmal sentimentale, manchmal kräftige Stimme von Björk. So entsteht eine Art Mixtur, deren Energie vor allem im Lied Bachelorette spürbar wird.
Es erreichte in den USA und Großbritannien Gold-Status. In Frankreich wurde Homogenic für mehr als 500.000 verkaufte Tonträger mit zweifachem Platin ausgezeichnet.
Das Cover-Foto des Albums stammt von dem englischen Mode-Fotografen Nick Knight, der für viele Fotografien von Björk verantwortlich zeichnet. Die Hülle wurde von dem Modedesigner Alexander McQueen entworfen.
(Wikipedia)
User Album Review
Bjork is one of the most difficult of all contemporary musicians to criticize, because she always seems to be one step ahead of the criticism. She is so thoroughly unique that any negative opinion would almost certainly be subject to review, since it is hard to imagine a reviewer who would be capable of claiming that he or she understands the work well enough to bring it down a peg or two. Much of Bjork’s work seems foreign simply because she is; it is rare for a woman from Iceland to conquer the world market. Her unusual style can certainly be attributed to her Scandinavian upbringing, and I believe (uh-oh, here I go) that this is most likely because she was fairly isolated from ‘standard’ (i.e., American, indigenous, blues-based) music structures. In addition, though, there can be little doubt that Bjork is one of the most willful artists of this era.
Her songwriting is opaque and mysterious, but not unpleasant, kind of like night swimming. It is something that can be appreciated solely for the textures, for the aesthetic experience, even if you cannot make out exactly what it is that you are basking in. Bjork is intelligent enough to reach into unknown territory, but what she brings back is so personal and unusual that it is hard for most others to follow her. If you hang on, it should eventually pay off, but an open mind is essential to finding the key to her work. Homogenic is rich with string arrangements and kinetic percussion programming, both of which supply the musical backbone to her melodic flights of fancy. Occasionally, repetition stands in the way ("Joga" had my sons laughing at seemingly endless the chorus melody) but she is off on a path of her own, and I for one am willing to follow her.
It seems as though females are much more inclined to break down melodic barriers and search for a truly unique means of expression than most men are. Joni Mitchell, Kate Bush, Tori Amos, Sophie B. Hawkins and Jane Siberry are but a few who have taken melody into their own hands and attempted to transform it beyond typically recognizable boundaries. Since Joni Mitchell, Bjork has been the most successful at this game, putting an unpredictable spin on almost everything she touches. Make no mistake – these are Bjork’s songs, and they aren’t meant to be performed by anyone else (although it isn’t impossible, just unlikely). Nobody else could do justice to work that is so personal. Rather than criticize what I cannot understand, I will just bask in it and let it wash over me.
External Album Reviews
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