Best Albums Ever - Bjork, Homogenic

Taking a step (or many) in a different direction, my next top album has got to be Bjork’s Homogenic (1997). I'm so excited to write this! It’s been ages since I listened to the album like one should always listen to it: No breaks or intermissions… like a great classical symphony. 

First, if you’re not familiar with Bjork, why in the world aren’t you?! Yeah, she’s weird and quirky, she growls and screams a lot when she sings, and she looks a bit like a pixie or a fairy creature. She’s opinionated and bold, speaks her mind and isn’t afraid to express her sexuality with gusto and enthusiasm. So okay, on second thought, I guess I wouldn’t blame you: She’s kind of intimidating.

My history of Bjork-obsession only goes back to 2003-ish. Prior to that, I honestly thought (don’t laugh, longtime Bjork fans) that Bjork was a heavy metal band. None of her stuff is mainstream enough to make top radio, so I’d never heard anything she’d done. And we didn’t have MTV. There was no way I’d know about her. 

Then I watched “Big Time Sensuality” (one of my all-time favorite songs) and everything shifted. My entire world moved as Bjork caused an actual earthquake in my music collection. My one complaint (if it’s possible to have one) about Homogenic is “Big Time Sensuality” isn’t on it! Oh well.

I chose this album because, as a whole, it’s one of the most beautiful pieces of electronic art to ever be created. Everything from the mix of explosive Icelandic-inspired sounds to the album art, all shiny and cold and creepy, is divine. It’s incredibly cohesive with the same structure and instrumentations carrying the weight through all ten tracks. Talk about making a statement: Bjork commanded it.

Right away, Bjork starts off with the innovative “Hunter”. Kick and snare panned to the sides? What? That is so not normal, and that’s what makes this brilliant. The beat is all over the place, with spooky ‘oohs and ‘ahhs’ taking us on Bjork’s journey with her. The strings are tender and simultaneously intense. Sure, let’s throw a little accordion in there! Love it. Bjork wrote this because she was sick of people depending on her to make music for a living. So she got mad at the song. Nice, maybe I should try that. #FavLyric: “I thought I could organize freedom: How Scandinavian of me.”

“Joga” is one of my favorites, especially the remixes. This is so powerful. Bjork wrote it for her best friend and as an ode to her homeland. The arrangement is heavily classical, with an awesome contrast of explosive, volcanic beats. Vocally, Bjork is totally on-point here: She nails it, the expression, the notes, the tenderness. The end of this song is absolutely fantastic: I love, love, love when the music drops out and we hear Bjork singing in Icelandic. It’s sonically awe-inspiring. Divine and warm. She nailed it. #FavLyric: “Coincidence, makes sense, only with you.”

“Unravel” is one of the most desperate love songs I’ve ever heard, and one of Bjork’s most sensitive and beautiful. Saxophones, an organ, swirling melodies, and drums that sound like they’re coming from deep underneath. The entire song lumbers along every step, Bjork clearly wiped from the journey. She always sings right to the point. It’s such a simple song about a love fading over time and needing to be renewed when reuniting. This is one of my favorite songs to warm up my voice. #FavLyric: “When you come back, we’ll have to make new love.”

More theatrical and even more powerful than previous tracks, “Bachelorette” was originally supposed to be for a film, but Bjork snagged it when the project was cancelled. Along with the strings and beats formula comes additional horns, timpani, harp and timbales. The lyrics are dramatic and poetic, thanks to Bjork’s collaboration with Sjon. This song is like a mini-suite, with ups and downs, louds and quiets that perfectly build the journey of the Bachelorette. We get to hear Bjork hit some pretty high notes too. Love that power in her voice. #FavLyric: “I’m a fountain of blood in the shape of a girl.”

I love all the songs on this album, but now we’re coming into the ones I really, really love, like “All Neon Like”. Two words: Glass Harmonica. It’s used more prominently in this song than any other I’ve heard, to brilliant effect. For a long time, I couldn’t grasp this song’s meaning, and now I think I’ve figured out that it’s a prayer of some kind. Every element has its place, and when Bjork sings words like ‘threads’ and ‘web’, you hear things that sound like that. It’s so cool. I love the pecking, consistent beat, and the subtle cymbals and additional kicks that come in and out. Like lots of Bjork songs, the melody isn’t predictable, and that’s totally perfect. And those lyrics… “nourish your turtle heart”. Yes. #FavLyric: “And the luminous beam, it feeds you.”

Yes, yes, yes. I love “5 Years”. Bjork wrote this after a particular breakup, and man, was she mad. And man, is it awesome! “You think you’re denying me of something, well I’ve got plenty.” Ha, nice. I never noticed until recently just how repetitive the melody is; it’s that good. It starts with playful electric piano and then builds into this gigantic bass-filled explosion. And I want the string arrangement for this… so crazy and powerful! A lot of awesome songs aren’t quite long enough, but this one’s super-awesomeness starts in the middle, which is great. This is my kind of head-banging music. Even if you haven’t just broken up with someone, you can get a kick out of singing this, and I often do. Bjork spans several octaves, and I adore her uninhibited vocal approach. That screaming, spitting, etc. You go, girl. #FavLyric: (tossup) “I dare you to take me on.” or “I’m so bored of cowards that say they want, then they can’t handle.”

We come down off a high and right into “Immature”, another post-breakup song with a completely different tone. Instead of bashing her former lover, Bjork blames herself for being “so immature, to think he could replace the missing elements in me.” It sounds hollow and lax, with far less explosiveness, and more of a jazziness. I’m always amazed how versatile Bjork is, and her ability to convey such conflicting emotions. There aren’t a lot of lyrics, and she says the same thing a few times, but it’s still a beautifully executed song. #FavLyric: “How extremely lazy of me.”

“Alarm Call” is the most poppy thing you’ll get on Homogenic. It’s positive, uplifting, inspiring and fun. Bjork wants to save the world with music, and it’s a fabulous idea realized wonderfully. There are so many giggly-good lyrics here. “The less room you give me, the more space I’ve got.” “It doesn’t scare me at all.” “I’m no ****ing Buddhist, but this is enlightenment.” “Beep, beep” (or is it “be, be”)? Who cares. This is bouncy and blippy and exciting with funky drums and layered vocals. #FavLyrics: “I want to be on a mountaintop with a radio and good batteries, and play a joyous tune, and free the human race from suffering.”

Perhaps the most innovative of all the album’s tracks, “Pluto” is loud, harsh, intense, and appropriately named. “Excuse me, but I just have to explode.” Yeah you heard that right, and you know anything that starts like that in Bjork-world is going to get really crazy really quick. The beats and spooky sounds in this song are out of this world, and I guess they should be! There’s the occasional strings, stuff that sounds like it was taken right out of a horror film, and not one, but several climaxes. This is great if you’re stressed and need to let off some steam. As awesome as it is, the live version might be even better. #FavLyric: “I’ll be brand new tomorrow.”

Stop. We just exploded, remember? Now it’s time to be reborn with “All Is Full Of Love”. This album version (really a remix by Howie B) is magical. That’s the best word to describe it. It pulses, it sweeps, it’s warm, it’s heart-smilingly epic. It literally sounds like the rainbow after the rain, the flowers pushing through the half-frozen ground, the big thaw of a cold heart. Bjork sings softly, the pith of all her lyrics being hope and newness. The slow warming and intensifying music is just so, so beautiful: I get goosebumps right at the 2:00 minute mark, and they don’t go away for the rest of the song. Bjork sings, over and over, “all is full of love”, and her vocals pan back and forth, all around you (so incredibly appropriate). There’s a sound like thousands of little bugs floating or flying past you. The echoing sitar/dulcimer is insanely perfect, almost sensual. The playful clarinet is lighthearted and sweet. As the song fades, an overwhelming pulsing pressurized intensity builds, and then, it’s gone. Timeless end to a perfect album.

#FavLyric: “You’ll be given love, you have to trust it.”

Bjork performing "All Is Full Of Love" in New York. Don't miss 2:10 to the end!

I always feel rejuvenated after listening to this, like I’m glad I had the experience. The last track leaves me with that feeling on its own, but going through the whole Icelandic journey with Bjork makes it that much better. In retrospect, so much of this album is about being revived, embracing new life and looking up. Critics have lauded this album since its release, with many claiming Bjork will never reach the pinnacle she did here. Others call it one of the best albums of the 1990’s. Me? I just call it one of the best, period.