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Where is Bjork now? Bjork’s life is half in New York and half in Iceland. For more information about Björk, see this article.
Bjork Gumundsdóttir is an Icelandic singer, songwriter, record producer and actress.
Over the course of her four-decade career, she has established a diverse musical drawing on inspirations and genres such as electronic, pop, experimental, trip-hop, alternative, ical and avant-garde music.
Where Is Bjork Now?
Björk spends half her time in New York and half in Iceland. Even in the 90s, when she spent a lot of time in London, she lived in Iceland half the year.
Björk was born in Rеуkavk on November 21, 1965 and only grew up there. Her mother was an activist who worked on social issues. Her father, Gunnaron, was a professional electrician and a single leader.
Her parents were divorced and she had to go into community with his mother.
Who Is Bjork’s Huband?
When Bjork was working with sugarcubе, she deced to marry one of the band’s members. Thor Eldon.
In June 1986 they married. The couple divorced shortly after 1987.
Björk was rumored to have been romantically involved with other members of the multi-industry such as rсkу and Gоldе (U.S. RTT).
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Later, while promoting her Dаncer in the Dark, she meets Atthew Arney, a commercial artist. They started dating and became corrupted after a while. They have one daughter together and divorced in 2013.
Bjork’s Son Sindri Eldon Þórsson Age And Wiki Bio
By the time she was 20, Björk had married the bassist or (Thor) Eldon and had son Sindri with him. That’s not young for Iceland, she stressed.
The couple split a year later but stayed together in international hit band The Sugarcubes.
Sindri accompanied Björk on tour, but things went horribly wrong when she arrived at Bangkok airport in 1996.
Meanwhile, Sindri worked as a music writer until he formed his own band, Sindri Eldon And The Ways, specializing in ‘melodic power pop’. In 2019 he and his wife Morgan Johnson welcomed their first child.
Bjork Net Worth Revealed
Björk has an estimated net worth of $55 million as of September 2021.
Her salary is unknown but she is a great musician with a large following on local media platforms.
Björk is a musician who has collaborated with a we variety of musicians from around the world, making her a vibrant musical legacy builder.
Meet Bjork On Instagram
Singer Bjork is an active user of Instagram. She can be found under the username @bjork.
Björk has over 1.4 million followers with 350 posts on her verified account.
She usually posts something about her career on the platform.
Who is Björk married to?
Where is Björk?
Björk’s life is spent half in New York and half in Iceland. She is used to this (even in the 90s, when she spent a lot of time in London, she lived in Iceland for half of the year). Isadora is now 15, and goes to school in both places – “here in the autumns and Brooklyn in the springs”.
How old is Björk now?
Is Björk still singing?
…
Björk.
| Björk OTF | |
|---|---|
| Awards | Full list |
| Musical career | |
| Genres | Art pop avant-garde electronica experimental |
| Instruments | Vocals |
Does Björk have a daughter?
What nationality is Björk?
Björk, in full Björk Gudmundsdottir, (born November 21, 1965, Reykjavík, Iceland), Icelandic singer-songwriter and actress best known for her solo work covering a wide variety of music styles. Integrating electronic and organic sounds, her music frequently explored the relationship between nature and technology.
Did Björk get plastic surgery?
Bjork claims surgery has given her a deeper voice. The enigmatic singer had a polyp removed from her vocal cords in November 2012, but rather than limit her abilities she believes the procedure has had a huge impact on her voice because it has extended her range.
Does Björk have a house in Iceland?
Björk’s modest stucco house in Reykjavik doesn’t look like much from the outside, but inside a world of treasures awaits.
How Tall is Björk?
Does Björk have kids?
Is Björk working on a new album?
Earlier this month Björk spoke with The Mercury News and revealed that the album’s release depends on “the speed of publishing in 2022”. “It’s sort of out of my hands,” she continued. “But I would say summer. That’s a rough estimate.”
björk : army of me (HD)
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Bjork | Biography, Songs, & Facts – Encyclopedia Britannica
Björk, in full Björk Gudmundsdottir, (born November 21, 1965, Reykjavík, Iceland), Icelandic singer-songwriter and actress best known for …
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Björk ‘People miss the jokes. A lot of it is me taking the piss out of myself’
It’s quite difficult to talk to Björk about their music. This is for several reasons, the main one being that she doesn’t make music to talk about. She makes music because she does (“I write a song a month,” she says, “sometimes two months”), and for her the full picture of an album usually emerges late in the process.
“Okay, I’ll put my head where I need to talk about myself,” Björk says, shifting in her seat. She’s feeling “a little scruffy” — she means rough around the edges — after a night out performing (her friends, twins Gyða and Kristin: “Gyða plays these kinds of cello loops, it’s really meditative”).
Even outside of work, Björk is always full-Björk: interested in the unusual and experimental. She has been working in music for more than 30 years, so she is called a pop star. But in reality, she’s an artist in disguise, often in the truest sense of the word (for now, she prefers delicate feather or filigree headgear). black platform shoes. Kajal is smeared under her eyes, she is drinking tea and chewing gum. Every now and then she takes out her chewing gum and puts it on her saucer; then absentmindedly picks it up and chews it again.
Utopia is overwhelming, lush and beautiful, with harps and flutes and real birdcalls, a magical forest of sounds
We are above a cafe in Reykjavik, Iceland. This building was once the home of an eminent politician, and the rooms are small and furnished like a grandmother’s house: ornaments in glass cases, Victorian side tables, antimacassars on splay-armed sofas. Björk folds in and out of her Olde Worlde chair, her body language opening and closing depending on how comfortable she is with the conversation.
At the moment the conversation is about their new album Utopia. And like I said, it’s pretty hard. Though we try to connect, it feels like I’m standing on one side of a raging river and she’s on the other side, sending her thoughts across to me.
Björk only recently figured out what utopia could mean. For a long time, as she is used to, she created it without a big idea, but just worked. In her music she explores small triggers, connects “emotional coordinates”; reconciling technical difficulties with musical goals; processing the results of time spent with musicians, editors, producers; Arrange, record, edit, mix. Mostly editorial. “Eighty percent of my music is on my laptop and I edit it. Weeks and weeks on every song,” she says. Now everything is done, she gathers her multiple ideas – musical, conceptual, conscious, subconscious – and tries to organize everything into a single quotable performance. She worked on this album for two and a half years. I heard it exactly once. Seventy-five minutes ago, in the room next door, I plugged headphones into a laptop and listened to Utopia to the end. Right after that, I went into this room to talk to Björk about what I had just heard. I can’t help listening to Utopia because Björk’s last album, Vulnicura, was leaked online three months before the release date. The flow between us swirls from their experiences. I rarely have wet toes.
Anyway, Björk has been doing Utopia since she finished her last tour. It started, she says, like many of her albums: both as a reaction to her previous album and as a follow-up to it. Released in 2015, Vulnicura was dark. It delved into the misery of her split from artist Matthew Barney, her longtime partner and father of her daughter Isadora. Its centerpiece, Black Lake, had Björk at his most vulnerable and bitter, with lyrics like “I am a wound, my throbbing suffering being… You fear my boundless emotions, I’m bored with your apocalyptic obsessions… You have nothing to give, yours.” Heart is empty.” “The saddest song I’ve ever written,” she describes it to me.
And so for Björk, that meant her new album had to be the opposite: “Upbeat,” she says, “non-narrative”; beautiful, universal.
“We played the last few gigs for Vulnicura at Carnegie Hall,” she recalls, “and they were so tragic. Everyone who has ever been heartbroken has been there and they all told me their stories. It was really sweet and real you know? And on the performances, I thought, “This has to be discreet and treated with grace.” But after the first one, I felt almost guilty. Because the whole room was crying and I wasn’t. Me and Alejandro [Ghersi, aka electronic artist Arca who worked on Vulnicura] guiltily sipped champagne in the background and said, “Next time we’ll have fun, okay?” I wanted this album to go towards the light. You indulge in grief to a point, but then you have to be a little Pollyanna.”
This is the difference to Vulnicura. The sequel – what Björk calls “the seed” – is partly supplied by Ghersi. He joined Vulnicura towards the end of the process when Björk was in full control: “I was the bossy backseat driver.” They hit it off and while Utopia was their partnership more equal, Björk let him bring more in as an artist. They took little elements they liked from Vulnicura, exchanged sounds they liked via email (melodies of South American flutes, singers from Cambodia) and played with them.
The result is exceptionally beautiful. Utopia is overwhelming, lush and beautiful, with harps and flutes and real birdcalls, a magical forest with ever-changing sounds. There is a dynamic of ebb and flow, like the turning of swallows in the sky. Sometimes Björk’s voice is in the foreground, sometimes it’s interwoven, just another instrument. This isn’t really an album of pop songs, although you might find one or two right off the bat; it’s more orchestral and detailed, all enveloping.
Björk sees her utopia as an island, perhaps one created out of an eco-disaster, an island where plants have mouths, or soar like hummingbirds, or grow out of your hands. “You know the fish in The Simpsons that has three eyes? Like that.” (This makes me laugh: Björk is funnier than she’s given credit for.) In her mind, women come to create a new, better society. They bring children and music and green technology, “and then it’s there is everyday life on the island”.
This idea came about in part because she wanted to use flutes, and her boyfriend James Merry (originally hired to do research for her 2011 album Biophilia) dug up flute myths from around the world. He found stories “from South America, Amazon tribes and Africa and Indonesia and China and Icelandic mythology”. The common thread between the stories was an escape story, in which women break out of a society that oppresses them, steal flutes and run to a new place with their children: “And they live very happily for, I don’t know, two-thirds of an album . But then the guys come and cut everyone’s heads off.” Björk didn’t like that, so “I decided to change the ending. I think we can change it, you know.”
The cover design for Björk’s forthcoming album Utopia.
Another utopia idea arose because it wanted to show that optimism is a choice during these scary Trump times. “It was chosen when I was two years on the album,” she says, “and I felt like, OK, it’s really important to be aware now. If you feel like this world isn’t going in the right direction, you need to be DIY and build a little fort here on the left.”
I don’t know if I got all of this from just one listen, although the sense of wildlife, physical space and bliss was very strong. My notes say things like “epic, full of nature”, “rattle (monkey sounds)”, “flutes beautiful, beats hard, transcendent”. I had the idea of a new place, of women supporting women, rejecting old systems (in Tabula Rasa she sings: “Break the Chains of the Fuck-Ups of our Fathers”). There are also – excitingly – strong hints of a new lover (Blissing Me: “I fall in love with his song”). And the feeling of the end of a difficult relationship, of moving forward (Sue Me). Although I may be speaking too literally. Björk laughs when I quote her from texts and ask her about her love life.
“It’s pretty active, I’ll leave it at that,” she says. “I think it’s too early to be too specific. Look, I’m glad people are still listening to me after all these years, but sometimes I feel like people misunderstand the lyrics. People miss the jokes. A lot of it is that I make fun of myself and, what do you call it, being self-deprecating…”
How are you doing with “Dating”?
“Oh, to me that word is so ridiculous!” she says. “In Iceland, especially in my teenage years, we didn’t date. You just went out and got screwed and woke up with someone the next morning and… And you married her! I definitely don’t date, like when I go to a restaurant in disguise.”
In a recent interview, Björk called Utopia “my Tinder album.” “Yes, because I found it hilarious, but of course I would never be able to be on Tinder.” What she’s really talking about is fresh experiences with new people: the excitement and sexiness and awkwardness of those encounters. “People trying things out and rejection, both ways. We all have chapters, and then when you start a new chapter, it’s like, “I walk the same streets I always walk, I wear the same clothes, but it feels like I’m on Mars. ‘ In the best sense, but also in a scary sense. I missed being that emotional explorer, I enjoy it.”
It’s exciting how boys change. Teenage boys are really emotional Bjork now
Björk spends his life half in New York and half in Iceland. She’s used to that (even in the 90s, when she spent a lot of time in London, she lived in Iceland half the year). Isadora is now 15 and goes to school in both places – “here in the fall and Brooklyn in the spring.” This annual rhythm is now familiar. They “spend Valentine’s Day there, other holidays in Iceland. It’s like bird migration.” I ask Björk about her current relationship with Barney (a couple of the new songs seem to indicate it’s not great, and he sued her in 2015 to get more time with Isadora), but understandably she wants to do not go there .
“I wonder if it’s good for me to talk about it,” she says. “Because of my daughter. If you make art that affects your life, which both parents actually do, we have an opportunity to introduce it to her and talk to her about it. We both. I think my daughter does it [manages things between her parents] gracefully. But that’s because we can do it in small packages.”
Björk and the Sugar Cubes in London, 1986. Photo: Ilpo Musto/Rex/Shutterstock
Björk was always around children. The eldest in her family of six younger siblings, she says, “What’s normal for me is two kids pulling my skirt” (she grew up in shared accommodation with her mother after her parents divorced at birth) . She had her first child, son Sindri, at age 20, “so there was a complete overlap.”
“And Iceland is very 19th century compared to London,” she says. “Very family, you see your family every week and you meet them in the shop and you go to have breakfast… it’s like living in a village. All the people you have ever gone to school with and all your family members live 10 minutes from your home. And we don’t really have crime, violence or guns, so kids 11 and up are traveling alone. When you’re busy, your kid can just hang out with your buddy. And a lot of other kids always hang out at my house.”
I wonder if that closeness is suffocating, but she says no. Also, of course, she’s been traveling with her music since she was young, so she’s had regular breaks from being near Iceland. Her first foreign tour in 1983 when she was 18 was with Tappi Tikarrass. They toured the UK supporting the punk band Crass. At the time, Björk didn’t speak English, but he did learn “Fuck Margaret Thatcher” from another band, Flux of Pink Indians, who had a song with that chorus. Those were the days when skinheads and punks would fight at gigs. Bjork loved it. “It was like going to the moon!” she says. “Like, ‘My god, things are so exotic here!'” She and her band camped in the Crass fans’ gardens.
Photo: Santiago Felipe
From then on, Björk was in various Icelandic punk/goth/indie bands until she hit it big in the 1990s after Sugarcubes (an alternative rock group that was big in NME country). Her first solo album, Debut, in 1993, combined her artistic inclinations and uplifting voice with producer Nellee Hooper’s dance sensibilities, and went platinum in the US. Back then I saw her at parties and she had as much fun as we all did. There is no VIP velvet rope instinct at Björk. She likes to stimulate people, whoever they are.
We talk a little bit about that time; interestingly through the filter of gender politics.
“I remember going to raves in Manchester,” she says, “just me and my buddies going out and going to clubs – and especially in the early ’90s it was important to be asexual. As long as you could sweat in your baggy clothes for five hours, you were fine. It felt like we were thinking, “We’re going to handle gender communication by sticking our tongues out at it.” It was a rebellion not to address it, a statement against the status quo. Not being male or female, undoing the role you were meant to play, you know?”
Do you think that changed anything?
“I think maybe no. But we have another story going now, and it’s important to address it. There’s this feeling in the air that if we do it now, it could be over in three years.”
She speaks of sexual harassment and abuse. The night before I arrived, Björk posted a statement on Facebook in support of the actors who have spoken out on the matter. She said she too was sexually harassed while working in the film industry. She didn’t name names, though she was clearly speaking about Lars von Trier, the director of Dancer in the Dark, in which she starred (Von Trier has since denied her claims). “My humiliation and role as a lesser victim of sexual harassment was the norm and set in stone with the director and staff of dozens making this possible,” she wrote. Having long operated from a position of power in the music industry, she was shocked to discover that actresses didn’t wield such power. (On my way to this interview in the taxi, I noticed that her first statement was number one in the news. It’s a reminder of how important Björk is in Iceland.)
“I did it to support women who can’t say no,” she says, “or aren’t lucky enough to have said no.” I’m aware that it shouldn’t be about me. ‘Cause I got off easy, you know? And because I come from this world where [sexual bullying] is not normal, I could see the contrast between the two worlds. I wanted to say, “You’re not imagining things. It’s just like that.'”
She is spurred on by the prospect of the world changing, old patriarchal ideas being toppled for the good of all.
“What’s exciting is that guys are really changing now,” she says. “Boys who are in their teens now are really emotional. That is perhaps the thing that needs to be addressed next. Where do men put their feelings? They are clumsy and don’t know what to do with them. My generation of men has been told to choke them for 20 years and then the women yell at them because, where are they? So you say, “Wait a minute. You don’t want me to be emotional, but you want me to be emotional? Can you make up your mind?” And then there’s the other story about the white man. If there’s one universal unconscious narrative, it’s self-pity that they’re losing power. It’s very hard to regret, but at least it hurts. You feel it.”
But what will they actually do about it, I wonder.
“Yeah, if all these men think like that and are honest, won’t they be making films for the next 20 years? Do we want that? To be honest I don’t know the answer. I just think it’s an odd question.”
Björk is a little uncomfortable talking about feminism with a capital F. Her mother was an activist, and when Björk talks about the ’90s, she speaks of a time of reaction to 1970s feminism: “It exhausted everything.” Also, it’s not very Björk to label things definitively: she dislikes rigidity, in her life and in art. But anyway, now she pushes forward in her chair because she wants to tell me something.
Whilst promoting Vulnicura, she pointed out in an interview with Pitchfork that she has been known as a singer-songwriter working with male producers for years. In fact, she produces her albums (those long days in front of the laptop) and she’s in control of the arrangements, the sound, the mixing, everything. In the interview, she wondered if it was partly her fault: She likes to create beautiful images and was therefore never really photographed in the studio, next to a mixer or with an effects device. Many young musicians have taken them at their word, now there is a website where you can see pictures of them as well as technical equipment.
“I’m very honored,” she says. “And now I’m going to try to talk more about these things. Oh, I’m blushing! But I will own it…for the ladies.” (She says this in a funny voice.)
What she wants to tell me about is the all-female group of 12 flutists on Utopia. “The flute club! Flötenföstudagur!” She brought them together and they met at her hut every Friday (föstudagur means Friday). Björk, who’s been paying for the flute since she was six, has rehearsed it over and over, “like 50 or 60 days,” and did all the arranging and conducting, everything. The same was true for the chorus and brass, “and all the arrangements I did for my albums. But people… it’s like they think it happened through magic and fell out of the sky.”
Björk in the studio during a Medúlla session, 2004. Photo: Courtesy Warren du Preez and Nick Thornton Jones.
Why do we get the impression that Björk is not a technical musician? Maybe it’s because she’s a singer with her extraordinarily emotional voice.
“Yeah, and I think more in women than in men, when we have that access to the emotional side of us, people think it has to be unconscious,” she says. “We’re allowed to forget it, but we can’t step back and edit it then. But mixing this album was really tricky. You know, without wanting to sound too pretentious, it wasn’t really about the events, it was about the filters around the sound. The juxtaposition of the flutes and the electronics and the voice and the birds. It’s really tender. If it’s wrong, the whole thing is just a tip… It took me three months to mix the album.”
She imagines Utopia as three parts. Discovering the island, daily life there and then, more prosaically, how people get through difficult times. One of the songs, Body Memory, is about how your body can get you through trauma when your head and heart can’t. It was triggered by another day she spent in her cabin, this time alone. She wrapped herself in tons of coats, lay down in the moss and listened to an audio book of the Tibetan Book of the Dead. She had known the book for a long time but had dismissed it as “a little goth.” This time, however, she found it stimulating, especially the last part. “It’s about having people who are experts at dying,” she says, “who have physical exercise to help you die. Like yoga exercises. Breathing exercises… Like Toddula’s. That impressed me so much.”
And so she wrote Body Memory to remind herself that she is able to overcome grief, overcome Vulnicura and survive. She wrote six verses for herself about “fate, love, another about sex, another about motherhood, one verse – and that was a struggle for me – is urban, another rural nature”. The verses remind her not to think too much, “don’t be neurotic, just do this”.
“It’s my version of helping myself by suggesting that you have everything within you, you have all the answers. Without sounding muddy. It’s like my manifesto. Let us do this!”
Björk laughs and reaches for her gum and her body language is open. She waves from the other bank, no semaphore. “I think I’ve come alive,” she says. “I’m with life. I’m like, “Oh, these are new hands and I have new legs and new… it’s a feeling of… It feels like a new adventure.”
Utopia will be released on One Little Indian on November 24th
Early Adopter: Björk’s enthusiasm for technology
Throughout her career, Björk has always been at the forefront of technology in the production of her music and videos. Here are six important peak moments.
The Internet
Björk’s website was launched in 1994 as part of the first wave of web-savvy stars. She’s pushed the medium to the extreme, even experimenting with live streaming in the dial-up days.
digital processing
The music industry began migrating to Pro Tools around 1997, although many opposed it. Björk first used it in 1998 and went full-on with Vespertine in 2001, enthusiastic about the laptop production and the album’s design to sound good on computer speakers when digitally downloaded.
Responsive and tenori-on
Björk was the first musician to use the Reactable – an electronic musical instrument in which luminous “tangible objects” are moved around a lighted table to create different textures and rhythms – and the Tenori-on, a sequencer, for her 2007 Volta tour , which converts LED patterns into sound patterns. These tactile, visual interfaces influenced her next tech adventure…
applications
In response to her classical training, Björk wanted to create a more intuitive music education, and the iPad’s touchscreen provided a bright, tactile way to do that. Every song on 2011’s “Biophilia” came with an app that allowed you to learn about music through hands-on deconstruction and reconfiguration.
Virtual reality
Björk wanted VR for Homogene from 1997, but the technology wasn’t quite there yet – it would be two decades before platforms like Oculus Rift and Samsung Gear would allow her to use Vulnicura for the 2016 Bjork Digital exhibition with 360 degrees in transform cameras, drones and 3D printing into immersive visual worlds.
Bitcoin
Utopia will be available with cryptocurrencies including Bitcoin. Although associated with shady dark web transactions, the blockchain technology behind it (payments securely and anonymously validated through encrypted transactions) could one day be used for voting and regaining online privacy. Utopian dreams with a touch of Outrider Edge? Pure Bjork. Emily Mackay
Björk’s Homogene by Emily Mackay is available now (Bloomsbury £9.99)
Wikipedia
Icelandic singer (born 1965)
This article is about the singer. For her self-titled album, see Björk (album). For other uses, see Björk (disambiguation)
Bjork. This is an Icelandic name. The surname is patronymic, not a family name; this person is addressed by their first name
Björk Guðmundsdóttir ( BYURK; Icelandic: [pjœr̥k ˈkvʏðmʏntsˌtouhtɪr̥] (; born 21 November 1965) is an Icelandic singer, songwriter, composer, record producer and actress. Over the course of her four-decade career, she has developed an eclectic style of music that focuses on Influences and genres such as electronic, pop, jazz, experimental, trip-hop, alternative, classical and avant-garde music are based.
Born and raised in Reykjavík, Björk began her music career at the age of 11 and gained international recognition at the age of 21 as the lead singer of the alternative rock band The Sugarcubes.[2] After the band broke up in 1992, Björk embarked on a solo career and rose to prominence with albums such as Debut (1993), Post (1995) and Homogene (1997) while collaborating with a range of artists and exploring a variety of multimedia projects. Her other albums include Vespertine (2001), Medúlla (2004), Volta (2007), Biophilia (2011), Vulnicura (2015) and Utopia (2017).
Several of Björk’s albums have made the top 20 on the US Billboard 200 chart. By 2015 she had sold between 20 and 40 million records worldwide.[3][4] Thirty-one of their singles have reached the Top 40 on the pop charts around the world, with 22 UK Top 40 hits, including Top 10 singles “It’s Oh So Quiet”, “Army of Me” and “Hyperballad” . and Top 20 singles “Play Dead”, “Big Time Sensuality” and “Violently Happy”.[5][6] Her accolades and accolades include the Order of the Falcon, five BRIT Awards and 15 Grammy nominations In 2015, Time named her one of the 100 Most Influential People Alive.[7][8] Rolling Stone named her the 60th greatest female singer and the 81st greatest songwriter.
Björk starred in Lars von Trier’s 2000 film Dancer in the Dark, for which she won the Best Actress award at the 2000 Cannes Film Festival, and was nominated for an Academy Award for Best Original Song for “I’ve Seen It All” Biophilia was marketed as an interactive app album with its own educational program Björk was also an environmental advocate in Iceland In 2015, a retrospective dedicated to Björk was held at New York’s Museum of Modern Art.[10]
Life and career[edit]
1965–1984: Early life and careers[edit]
Björk was born on November 21, 1965 in Reykjavík,[11] where she grew up. Her mother was the activist Hildur Rúna Hauksdóttir (October 7, 1946 – October 25, 2018[12]), who protested against the development of the Icelandic hydroelectric power station Kárahnjúkar.[13] Her father is Guðmundur Gunnarsson, union leader and electrician. They divorced when Björk was born and she moved into shared accommodation with her mother.[14][15] Her stepfather is Sævar Árnason, a former guitarist for the band Pops.[15] At six, Björk enrolled at Barnamúsíkskóli School in Reykjavík, where she studied classical piano and flute.[11] After a school recital where Björk sang Tina Charles’ 1976 hit “I Love to Love,” her teachers sent a recording of her singing the song to RÚV radio, which was Iceland’s only radio station at the time. The recording was broadcast nationally and after hearing it, a representative from the Fálkinn record label offered Björk a record deal. Her debut Björk was recorded when she was 11 and released in Iceland in December 1977.[16]
As a teenager, following the spread of punk rock music in Iceland, Björk formed the all-girl punk band Spit and Snot. In 1980 she formed a jazz fusion group, Exodus, worked in another group, JAM80, and graduated from music school.[11] In 1982, she and bassist Jakob Magnússon formed another group, Tappi Tíkarrass (“Cork the Bitch’s Ass” in Icelandic), and released the EP Bitið fast í vitið (“Bite Hard Into Hell” in Icelandic) in August 1982. Her album Miranda was released in December 1983. The group were featured in the documentary Rokk í Reykjavík, with Björk appearing on the cover of the VHS release. Around this time Björk met guitarist Þór Eldon and the surrealist group Medusa, which included poet Sjón, with whom she began a lifelong collaboration and formed a group, Rokka Rokka Drum.[18] She described her time as part of Medusa as “a beautiful organic D.I.Y. university: extreme fruitfulness!”[19]
Björk appeared as a featured artist on “Afi”, a track from Björgvin Gíslason’s 1983 record Örugglega.
Due to the upcoming closure of the Áfangar radio show, two radio personalities, Ásmundur Jónsson and Guðni Rúnar asked musicians to play in a final live radio show. Björk joined forces with Einar Melax (from the group Fan Houtens Kókó), Einar Örn Benediktsson (from Purrkur Pillnikk), Guðlaugur Kristinn Óttarsson and Sigtryggur Baldursson (from Þeyr) and Birgir Mogensen (from Spilafífl) to perform in concert.[20 ] The group developed a gothic rock sound. During this experience, Björk began to develop her vocalizations – punctuated by howls and screeches.[11] The project performed as Gott kvöld during the concert. When they later decided to continue playing together as a group, they used the name Kukl (“magic” in Icelandic).[20] Björk’s acquaintances let the group use their studio to record and released their first single in 1983.[20] Their first major gig at a festival in Iceland was fronted by the English anarchist punk band Crass, whose record label Crass Records offered the band a record deal. The Eye was released in 1984, followed by a two-month European tour that also included an appearance at the Roskilde Festival in Denmark. This made Kukl the first Icelandic band to play at the festival.[14][20] During this time, Björk published a hand-colored volume of poetry. Um Úrnat frá Björk was expelled in 1984.[11]
1985–1992: The Sugar Cubes, Marriage and Motherhood[ edit ]
Kukl’s second album, Holidays in Europe (The Naughty Nought), was released in 1986. The band split up due to personal conflicts, with Björk continuing a collaboration with Gudlaugur that went by the name of Elgar Sisters. Some of the recorded songs ended up being B-sides to Björk’s solo singles.[11][21]
Björk performed with the Sugarcubes in Japan in 1992
Björk had her first acting role in The Juniper Tree (filmed 1986, published 1990), a witch tale based on the story by the Brothers Grimm and directed by Nietzchka Keene. Björk played the role of Margit, a girl whose mother was killed for witchcraft.[11] That summer, former band member Einar Örn and Eldon founded the art collective Smekkleysa (“Bad Taste” in Icelandic), which was formed with the intention of being both a record label and book publisher. Various friends namely Melax and Sigtryggur from Kukl along with Bragi Ólafsson and Friðrik Erlingson from Purrkur Pillnikk joined the group and a band formed collectively just to make money.[21] They were originally called Þukl but were advertised as Kukl (the name of the previous band). At a later concert in support of the Icelandic band Stuðmenn, they referred to themselves as Sykurmolarnir (“Sugarcubes” in Icelandic). Their first double A-side single “Einn mol’á mann”, which contained the songs “Ammæli” (“Birthday”) and “Köttur” (“Cat”), was on November 21, 1986, Björk’s 21st birthday , was released.[21] At the end of the year, the band was signed to One Little Indian.[21] Their first English single “Birthday” was released in the UK on 17 August 1987; a week later it was declared single of the week by Melody Maker.[21] The Sugarcubes also signed a distribution deal with Elektra Records in the United States and recorded their debut album, Life’s Too Good, released in 1988. After the album’s release, Eldon and Björk divorced shortly after the birth of their child, despite being in the same group.[23] The album sold more than a million copies worldwide.[22] Björk performed as a backing vocalist on Megas’ 1987 album Loftmynd, for which she also provided backing vocals on his subsequent albums Höfuðlausnir (1988) and Hættuleg hljómsveit & glæpakvendið Stella (1990).
During the last quarter of 1988, the Sugarcubes toured North America to positive reception. On October 15, the band performed on Saturday Night Live. Björk alone contributed a rendition of the Christmas carol “Jólakötturinn” (“The Christmas Cat”) on the compilation Hvít Er Borg Og Bær.[15] The band went on hiatus after Here Today, Tomorrow Next Week! (1989) and a lengthy international tour.[23] During this time, Björk began working on her solo projects. In 1990 she provided backing vocals for Gums by Bless.[15] In the same year she recorded with the jazz group Tríó Guðmundar Ingólfssonar Gling-Gló, a collection of popular jazz and original works that was still her best-selling album in her home country in 2011. Björk also contributed vocals to 808 State’s album ex:el, which she used to cultivate her interest in house music. She contributed vocals on the songs “Qmart” and on “Ooops”, which was released as a single in the UK in 1991. She also contributed vocals to the song “Falling” on the album Island by Current 93 and Hilmar Örn Hilmarsson.[15] That same year she met harpist Corky Hale, with whom she had a recording session that ended up being a track on her future album Debut.[11]
By this point, Björk had decided to leave the band to pursue her solo career, but her deal included the making of one final album, Stick Around for Joy (1992), followed by a promotional tour, which she agreed ] Björk was on two Tracks from the soundtrack for the 1992 film Remote Control (known as Sódóma Reykjavík in Iceland) can be seen.[15] The Sugarcubes broke up after playing one last show in Reykjavík.[22] Rolling Stone has called them “the greatest rock band to emerge from Iceland”.[24]
1993–1996: debut and post[edit]
Björk moved to London to pursue a solo career; She began working with producer Nellee Hooper (who had also produced Massive Attack). Their partnership spawned Björk’s first international solo hit “Human Behaviour,” a clattering dance track based on a guitar rhythm sampled by Antônio Carlos Jobim. The song didn’t get much radio play in most countries, but its music video gained heavy airtime on MTV. Directed by Michel Gondry, who became a frequent collaborator with Björk.[25] Her first adult solo album, Debut, was released in June 1993 to positive reviews; It was named Album of the Year by NME and eventually went platinum in the US.[26] Debut was the leap Björk made from being in numerous bands in her teens and early twenties to her solo career. She named the album Debut to signify the beginning of something new. Debut featured a mix of songs Björk had been writing since she was a teenager, as well as more recent lyrical collaborations with Hooper. The dance-oriented album varied in instrumentation. A single from the album, “Venus as a Boy”, featured a Bollywood-influenced string arrangement. Björk covered the jazz standard “Like Someone in Love” to the accompaniment of a harp, and the final track, “The Anchor Song”, was sung with just a saxophone ensemble accompaniment.
At the 1994 Brit Awards, Björk won the awards for Best International Woman and Best International Newcomer.[27] The success of Debut allowed her to collaborate with British and other artists on one-off tracks. She collaborated with David Arnold on “Play Dead,” the theme of the 1993 film The Young Americans (which appeared as a bonus track on a re-release of Debut), collaborated on two songs for Tricky’s Nearly God project, and appeared on the track “Lilith ‘ for Plaid’s Not for Threes album and co-wrote the song ‘Bedtime Story’ for Madonna’s 1994 album Bedtime Stories. Björk also had an uncredited role as a runway model in the 1994 film Prêt-à-Porter.
Post was Björk’s second solo studio album. Released in June 1995, the album was produced in collaboration with Nellee Hooper, Tricky, 808 State’s Graham Massey and electronica producer Howie B. Building on the success of Debut, Björk continued to pursue different sounds, taking a particular interest in dance and techno. Tricky and Howie B’s production also delivered trip-hop/electronica-like sounds on tracks like “Possibly Maybe” and “Enjoy”. It was the influence of these producers, along with older friend Graham Massey, that inspired Björk to create material like the heavy industrial beats of “Army of Me.” The album was ranked number 7 on Spin’s “Top 90 Albums of the ’90s” list and number 75 on his “100 Greatest Albums, 1985–2005” list. Post and Homogene ranked back-to-back on Pitchfork Media’s “Top Albums of the ’90s” list at #21 and #20, respectively.[30][31] In 2003, the album was ranked number 373 on Rolling Stone magazine’s list of the 500 Greatest Albums of All Time. During this time, the press glamorized Björk’s eccentricities by creating a “pixie” persona around her,[33] a description she later confronted with her subsequent albums.[34]
Although Björk continued to receive more mainstream attention for her videos than her singles, Post included several British pop hits and eventually went platinum in the US. Björk also contributed to Hector Zazou’s 1995 collaborative album Chansons des mers froides, singing the traditional Icelandic song “Vísur Vatnsenda-Rósu”.
On September 12, 1996, obsessive fan Ricardo López sent a letter bomb laden with sulfuric acid to Björk’s London home before filming his suicide.[35] The package was intercepted by the Metropolitan Police Service.[35][36][37] In her few public comments about the event, Björk said she was “very upset” by the incident[38] and “I make music, but in other words, you know, people shouldn’t take me too literally and get involved with mine.” private life.”[39]
1997–2000: Homogeneous and Dancers in the Dark[edit]
Björk left London for Spain, where she recorded the album Homogene[40] released in 1997. Björk worked with LFO and Howie B producers Mark Bell and Eumir Deodato; numerous remixes followed. Homogene is considered one of Björk’s most experimental and outspoken works, with massive beats that echo the Icelandic landscape, most notably on the song “Jóga,” which melds rich strings with rocking electronic crunches. The album went gold in the US in 2001.[26] The album was supported by a series of music videos, some of which were broadcast on MTV. The video for “Bachelorette” was directed by frequent collaborator Michel Gondry, while “All Is Full of Love” was directed by Chris Cunningham. The single “All is Full of Love” was also the first DVD single ever released in the US, paving the way for other artists to include DVD videos and other multimedia features in their singles. Björk began to write more personally, saying, “I realized I was done with the extrovert thing. I had to go home and find myself again.”[40]
In 1999, Björk was asked to write and produce the musical score for the film Dancer in the Dark, a musical drama about an immigrant named Selma who struggles to pay for an operation to prevent her son from going blind. Director Lars von Trier eventually asked her to play the role of Selma, convincing her that the only true way to capture the character of Selma was to have the composer of the music play the character.[41] Finally she accepted. Filming began in early 1999 and the film debuted in 2000 at the 53rd Cannes Film Festival. The film received the Palme d’Or and Björk received the Best Actress award for her role.[9] It was reported that filming was so physically and emotionally exhausting that she vowed never to act again.[42] Björk later explained that she always wanted to do a musical in her life, and Dancer in the Dark was one. The soundtrack that Björk created for the film was released entitled Selmasongs. The album features a duet with Radiohead’s Thom Yorke entitled “I’ve Seen It All”, which was nominated for an Oscar for Best Original Song and performed at the 2001 Oscars (without Yorke) while Björk wore her famous swan dress .[44]
2001-2003: Vespertine and Greatest Hits
Bjork at the 2001 Academy Awards in her swan dress
In 2001 Björk released the album Vespertine. It featured chamber orchestras, choirs, muted vocals, microbeats from household noises, and personal, vulnerable themes. For the album, she collaborated with experimental musicians such as Matmos, Denmark-based DJ Thomas Knak and harpist Zeena Parkins. Lyrical sources included the works of American poet E.E. Cummings, American independent filmmaker Harmony Korine and the penultimate play Crave by English playwright Sarah Kane. An illustrated book of the same name containing loose prose and photographs was published at the same time as the album was released.[45] Björk started the Vespertine World Tour. The shows took place in theaters and opera houses to have “the best possible acoustics”. She was joined by Matmos, Parkins and an Inuit choir she auditioned for on a pre-tour trip to Greenland.[46] At the time, Vespertine was Björk’s fastest-selling album to date, having sold two million copies by the end of 2001.
Vespertine spawned three singles: “Hidden Place”, “Pagan Poetry” and “Cocoon”. MTV2 played the album’s first video, “Hidden Place”, which was subsequently released as a DVD single. The next video for “Pagan Poetry” took Björk to an even higher level of controversy with the channel. The video shows graphic piercings, Björk’s nipples exposed, and simulated fellatio.[48] As a result, the clip was banned from MTV. In 2002 it aired unedited as part of a late night special on MTV2 entitled “Most Controversial Music Videos”. The Cocoon video also featured an apparently nude Björk (actually wearing a tight-fitting bodysuit), this time with her nipples exuding a red thread that eventually encased her in a cocoon. The video was directed by Japanese artist Eiko Ishioka and was not broadcast by MTV.[49] She was invited to record “Gollum’s Song” for the film “The Lord of the Rings: The Two Towers” but declined the invitation as she was pregnant at the time. The song was instead recorded by another Icelandic woman, Emiliana Torrini.
In 2002 the CD box Family Tree was released. It included selected rarities as well as previously unreleased versions of her compositions, including her work with the Brodsky Quartet. Also released alongside Family Tree was the album Greatest Hits, a retrospective of the last 10 years of her solo career as perceived by the public. The songs on the album were chosen by Björk’s fans through a poll on their website. A DVD edition of the CD was also released. It contained all of Björk’s solo music videos up to that point. The new single from the set, “It’s in Our Hands”, charted at number 37 in the UK.[5] The video, directed by Spike Jonze, features a heavily pregnant Björk. On October 3, 2002, she gave birth to daughter Isadora Bjarkardottir Barney.[50] Björk and the Brodsky Quartet recorded Prayer of the Heart, a composition written for them by composer John Tavener in 2001, which was then played for a 2003 slideshow presentation for American photographer Nan Goldin. In 2003, Björk released a box set, Live Box, consisting of four CDs of live recordings from their previous albums and a DVD with a video of one track from each CD. Each of the four CDs was later released separately at a reduced price.
2004–2006: Medúlla and Drawing Restraint 9 [ edit ]
In August 2004 Björk released Medúlla. During production, Björk decided that the album would work best as a purely vocal-based album. This original plan was altered as the majority of the sounds on the album were actually created by singers, however some feature prominent basic electronic programs as well as the occasional musical instrument. Björk utilized the vocal abilities of throat singer Tanya Tagaq, hip hop beatboxer Rahzel, Japanese beatboxer Dokaka, avant rocker Mike Patton, soft machine drummer/vocalist Robert Wyatt and several choirs. She again appropriated lyrics from E.E. Cummings for the song “Sonnets/Unrealities XI”. At that time, Medúlla became her highest-charting album in the US, debuting at number 14. [51]
In August 2004, Björk performed the song “Oceania” at the opening ceremony of the 2004 Summer Olympics in Athens. As she sang, her dress slowly unfurled to reveal a 10,000 square foot (900 m2) map of the world, which she flowed over all of the Olympic athletes. The song ‘Oceania’ was written especially for the occasion and showcases the talents of Shlomo, a Leeds beatboxer, and a London choir. An alternate version of the song began circulating the internet with additional vocals by Kelis. It originally appeared on the promotional single “Oceania” released to radio stations and was later released to the public as the B-side of the single “Who Is It”, which charted at number 26 in the UK. This was followed by “Triumph of a Heart” in early 2005, which peaked at #31.[53] A video for potential next single “Where Is the Line” was shot in late 2004 in collaboration with Icelandic artist Gabríela Friðriksdóttir. This was originally a sequence from an artists’ art installation film, but was released exclusively on the Medúlla Videos DVD as the official promo for the track.
Björk DJ’ed with her laptop in 2006
In 2005, Björk collaborated with his partner Matthew Barney on the experimental art film Drawing Restraint 9, a dialogless exploration of Japanese culture. Björk and Barney both appear in the film, playing two western guests on a Japanese factory whaling ship who eventually transform into two whales. She is also responsible for the film’s soundtrack, her second after Selmasongs. Björk also appeared in the 2005 documentary film Screaming Masterpiece, which covered the Icelandic music scene. The film features archive footage of the Sugarcubes and Tappi Tíkarrass, as well as an ongoing conversation with Björk himself. During this era, Björk received another BRIT Awards nomination for Best International Female Solo Artist. She was also awarded the Inspiration Award at the Annual Q Magazine Awards in October 2005, accepting the award from Robert Wyatt, with whom she had collaborated on Medúlla.[55] In 2006, Björk remastered her first three solo studio albums (Debut, Post, Homogene) and her two soundtrack albums (Selmasongs and Drawing Restraint 9) in 5.1 surround sound for a re-release in a new box set entitled Surrounded, das was released on June 27th. Vespertine and Medúlla were already available in 5.1 on either DVD-A or SACD, but are also included in the box in a repackaged format. The DualDiscs were also released separately.[56] Björk’s previous band, the Sugarcubes, reunited for a one night only concert in Reykjavík on November 17, 2006. Proceeds from the concert were donated to the Sugarcubes’ former label, Smekkleysa, which, according to Björk’s press release, “continues to work on a charitable basis for the future betterment of Icelandic music”.[57]
2007-2010: Volta[edit]
Björk contributed a cover of Joni Mitchell’s song “The Boho Dance” to the album A Tribute to Joni Mitchell (2007).[58] Director and former collaborator Michel Gondry asked Björk to star in his film The Science of Sleep, but she turned it down. The role was played by Charlotte Gainsbourg instead.[59] Björk starred alongside Terry Jones and Damon Albarn in Gunar Karlsson’s 2007 animated film Anna and the Moods.
Björk’s sixth full-length studio album, Volta, was released on May 7, 2007. It contains 10 tracks. It features contributions from hip hop producer Timbaland, singer Anohni, poet Sjón, electronic beat programmer Mark Bell, kora master Toumani Diabaté, Congolese thumb piano band Konono No 1, pipa player Min Xiaofen and bei several songs by an all-female ensemble from Iceland with brass compositions. It also uses the Reactable, a novel “tangible interface” synthesizer from Universitat Pompeu Fabra in Barcelona, played on Volta by Damian Taylor. The album’s first single, “Earth Intruders”, was released digitally on April 9, 2007 and became her second Billboard Hot 100 entry in the US. Volta debuted at number nine on the Billboard 200 albums chart and became her first Top 10 album in the US, grossing 43,000 in its first week. The album also reached number three on the French Albums Chart with first-week sales of 20,600 albums and seventh on the UK Albums Chart with 20,456 units sold. The album’s second single, “Innocence”, was released digitally on July 23, 2007, with an accompanying music video selected from a competition conducted through their official website. “Declare Independence” was released on January 1st, 2008 in a super deluxe package containing two 12″ vinyls, a CD and a DVD with Gondry’s video “Declare Independence”. [60] “Wanderlust” was subsequently released in a similar format to Encyclopedia Pictura’s short film for the track, shot in stereoscopic 3D. The album’s fifth single was “The Dull Flame of Desire” featuring vocals by Anohni.
Björk then completed the 18-month Volta Tour after performing at many festivals and returning to Latin America after nine years, where he performed in Rio de Janeiro, São Paulo, Curitiba, Guadalajara, Bogotá, Lima, Santiago de Chile, among others Buenos Aires played part of various events. She also returned to Australia and New Zealand in January 2008 for the first time in 12 years and toured the nations with the Big Day Out Festival. As part of the Sydney Festival, she performed a one-off show at the Sydney Opera House. Her music was featured in the 2008 documentary Horizons: The Art of Steinunn Þórarinsdóttir, directed by Frank Cantor.
Announced via an eBay auction, a new Björk track entitled “Náttúra” has been unveiled. Björk commented that the song was intended to “promote active support for a more environmentally responsible use of Iceland’s natural resources”.
The song was originally billed as a new single from Björk, with backing vocals by Radiohead frontman Thom Yorke. Björk’s official website later stated that the single would be released on October 27, 2008 via iTunes,[62] however the track was eventually made available exclusively at nattura.grapewire.net.[63] In a statement released by bjork.com, a limited edition box set titled Voltaïc was announced by One Little Indian Records with a North American release date of April 20, 2009 (later pushed back to mid-June). The release consists of various live recordings from performances in Paris and Reykjavík. The live set was also recorded at Olympic Studio in London. The first disc features songs from the Volta Tour performed live at Olympic Studios; the second CD contains videos of the Volta Tour live in Paris and live in Reykjavik; the third CD contains “The Volta Videos” and the video competition, while the fourth is the CD “The Volta Mixes”.[64]
In May 2010, the Royal Swedish Academy of Music announced that Björk would receive the Polar Music Prize alongside Ennio Morricone.[65] A month later, Björk announced along with Dirty Projectors that they would be collaborating on a collaborative EP titled Mount Wittenberg Orca, which was released on June 30 to raise money for marine conservation.[66] Im September 2010 veröffentlichte Björk „The Comet Song“ als Teil des Soundtracks für den Film Moomins and the Comet Chase. Ebenfalls 2010 duettierte sie sich mit ihrem Isländer (und Labelkollegen von One Little Indian) Ólöf Arnalds auf einem Track namens “Surrender” von Arnalds ‘neuem Album Innundir skinni [67] und spielte ein Duett mit Anohni auf dem Album Swanlights von Antony and the Johnsons . Das Lied trägt den Titel “Flétta”.[68] Am 20. September 2010 führte Björk ihre Version von “Gloomy Sunday” am Denkmal des Designers Alexander McQueen in der St. Paul’s Cathedral in London auf. Am 7. Dezember 2010 veröffentlichte Björk einen bisher unveröffentlichten Song namens “Trance” als Playback eines Kurzfilms von Nick Knight mit dem Titel “To Lee, with Love” als Hommage an McQueen, mit dem Björk mehrfach zusammengearbeitet.
2011–2016: Biophilie und Vulnicura [ bearbeiten ]
Björk erschien in Átta Raddir, einer der TV-Shows von Jónas Sen. Die Folge wurde am 27. Februar 2011 ausgestrahlt.[69] Die Sendungen werden vom Icelandic National Broadcasting Service produziert.[70] In der Show spielte Björk acht Songs, darunter “Sun in My Mouth”, die zuvor noch nicht live aufgeführt worden waren.
Björk tritt im Cirque en Chantier in Paris auf (Februar 2013)
Biophilia wurde 2011 veröffentlicht. Das Albumprojekt kombinierte Musik mit technologischer Innovation und Themen aus Wissenschaft und Natur, darunter ein “App-Album”, Bildungskooperationen mit Kindern und spezialisierte Live-Auftritte, und debütierte in Manchester, Großbritannien, beim Manchester International Festival am 30 Juni. Dies war der erste Teil der Biophilia Tour, die zwei Jahre lang um die Welt tourte.
Im Juni 2011 wurde die erste Single von Biophilia, “Crystalline”, veröffentlicht.[71] Das Lied wurde mit einem der verschiedenen Instrumente komponiert, die speziell für das Projekt gebaut wurden, der “Gameleste”, einer Celesta, die mit Gamelan-Elementen modifiziert wurde. Ein zentraler Bestandteil von Biophilia war eine Reihe von interaktiven iPad-Apps, die von Programmierern und Designern erstellt wurden, eine App für jeden der 10 Songs auf dem neuen Album. Die zweite Single „Cosmogony“, die allen anderen als „Mutter-App“ diente, erschien am 19. Juli 2011, gefolgt von „Virus“ und „Moon“. Biophilia war das erste Album, das im Oktober 2011 als eine Reihe interaktiver Apps veröffentlicht wurde.[72] Ebenfalls Teil des Projekts war Björks Bildungsprogramm Biophilia, das aus Workshops für Schulkinder im Alter von 10 bis 12 Jahren bestand, die die Schnittmenge von Musik und Wissenschaft erforschten. Das Bildungsamt der Stadt Reykjavik brachte das Programm in den nächsten drei Jahren in alle Schulen der Stadt.[73]
Sie veröffentlichte 2012 das Remix-Album Bastards. Es enthielt Remixe von Death Grips und dem syrischen Musiker Omar Souleyman. Im Jahr 2013 war Björk zusammen mit Sir David Attenborough in einer Channel 4-Dokumentation mit dem Titel When Björk Met Attenborough als Teil ihrer Mad4Music-Programmsaison zu sehen. Björk und Attenborough diskutierten die menschliche Beziehung zur Musik, wobei sie sich auf Biophilia konzentrierten und auch den Wissenschaftler Oliver Sacks vorstellten.[76] 2014 wurden die Apps als erste überhaupt in die ständige Sammlung des Museum of Modern Art aufgenommen.[72] Im Juni nahm Björk Original-Vocal-Samples für Death Grips auf, die sie für alle 8 Songs von Niggas on the Moon, dem ersten Teil ihrer Doppel-LP The Powers That B, verwendeten.[77] In late 2014, a concert film, Björk: Biophilia Live, was released worldwide, including in more than 400 cinemas.[78]
Björk worked with producers Arca and the Haxan Cloak on her ninth studio album, titled Vulnicura.[79] On 18 January 2015, just days after being publicly announced, and two months ahead of its scheduled release, a supposed full version of the album leaked online.[80][81] In an effort to salvage potential losses in sales due to the leak and to allow fans to hear the album in superior quality, it was made available worldwide on 20 January 2015 on iTunes.[82] Vulnicura is a portrayal of her breakup with former partner, Matthew Barney with lyrics that are emotionally raw in comparison to the abstract concerns of her previous album.[83] Its surprise release was positively compared to recent album releases from Madonna and Beyoncé, the former of whom also released her album to iTunes after being leaked, and the latter of whom wanted to revolutionize how albums were released and consumed.[84] Björk began her world tour in March 2015 at Carnegie Hall performing “Black Lake” and other tracks from Vulnicura as well as several from her back catalog with accompaniment from the ensemble Alarm Will Sound, Arca on electronics (on festival dates the Haxan Cloak took over) and percussionist Manu Delago.[85] After completing its New York residency, the tour travelled to Europe before ending in August 2015.
New York’s MoMA hosted a retrospective exhibition from 8 March – 7 June 2015 that chronicled Björk’s career from Debut to Biophilia; however, aspects of Vulnicura were included as well but not previously announced.[86] The retrospective consisted of 4 parts: the Biophilia instruments (Tesla coil, MIDI controlled organ, the newly created Gameleste, and gravity harp) were on display in the lobby of the museum and played automatically throughout the day, the MoMA commissioned video installation, “Black Lake”, directed by Andrew Thomas Huang, which consisted of 2 complementary edits of the “Black Lake” video screened in a small room with 49 speakers hidden in the walls and ceiling, a Cinema room showcasing most of Björk’s music videos, newly transferred in high definition, and the Songlines walking exhibit which showcased Björk’s notebooks, costumes and props from throughout her career. A book entitled Björk: Archives, documenting the content of the exhibition, was published in March.[87] In addition to the “Black Lake” video, videos for “Lionsong” (which played in the Cinema room of the MoMA exhibit), “Stonemilker” (a 360-degree VR video) “Family”, and “Mouth Mantra” were also produced for the album, as well as a three part remix series available digitally and on limited edition vinyls. No traditional singles were released for Vulnicura. In December, the “Stonemilker VR App” was released for iOS devices, featuring an exclusive strings mix of the song.[88] It is the same version on display at MoMA earlier that year.
On 2 October 2015, Vulnicura Strings was announced. The album serves as a purely acoustic companion to Vulnicura, and features additional string arrangements plus the viola organista, a unique string instrument played on a keyboard designed by Leonardo da Vinci. It was released on 6 November 2015 on CD and digital and 4 December 2015 on vinyl.[89] A week later, Vulnicura Live was announced on double CD / double LP sets sold exclusively through Rough Trade record shops. The set sold out online five days after being announced but limited quantities were made available in store in London and Brooklyn. Each format is limited to 1000 copies each, making it one of the rarest physical releases of Björk’s recent career. The CD was released on 13 November 2015 with the picture disc vinyls released a week later.[90] On 7 December 2015, Vulnicura was nominated for the Grammy Award for Best Alternative Music Album.[91] On 15 July 2016, a standard “commercial” edition of Vulnicura Live was released, featuring the same performances but newly mixed and with different artwork. A luxury version of Vulnicura Live was released on 23 September.[92] The performance of “Come to Me” from the album was also included in the box set 7-inches for Planned Parenthood in support of the women’s health organization.[93][94]
Björk launched Björk Digital in June 2016, a virtual reality exhibit showcasing all the VR videos completed for Vulnicura thus far, including the world premiere of “Notget”, directed by Warren du Preez and Nick Thornton Jones, at Carriageworks for Vivid Sydney 2016 in Sydney, Australia. She DJ’d the opening night party[95] and did the same when the show traveled to Tokyo, Japan on 29 June,[96] showing at Miraikan. During the Miraikan residency, Björk made history by featuring in the world’s first ever virtual reality live stream broadcast on YouTube. She gave a live performance of Vulnicura’s final song “Quicksand”, and the footage was incorporated into the “Quicksand” VR experience. Björk Digital has travelled the world with stops in London, Montreal, Houston, Los Angeles and Barcelona.
2017–present: Utopia, The Northman and tenth studio album [ edit ]
On 2 August 2017, Björk announced with a handwritten note on her social media the imminent release of a new album. The announcement coincided with an interview for Dazed’s autumn 2017 cover issue in which Björk talked about the new album.[97][98] The lead single, “The Gate” was released on 15 September 2017.[99] Its accompanying video was directed by visual artist Andrew Thomas Huang.[100] The same day of the single’s release, Björk announced the album’s title, Utopia, during an interview with Nowness.[101]
Utopia was released on 24 November 2017.[102] She described it as her “Tinder album” and stated that “it’s about that search (for utopia) – and about being in love. Spending time with a person you enjoy is when the dream becomes real.”[103][104] Björk added that her previous album was “hell” – it was like divorce!”, stating, “So we [were] doing paradise […] We have done hell, we have earned some points.”[105][106] She produced the album with Arca, whom she collaborated with on Vulnicura. Björk has described her collaborative journey with Arca as “the strongest musical relationship [she’s] had”, likening it to that of Joni Mitchell and Jaco Pastorius during the albums Hejira and Don Juan’s Reckless Daughter (“It’s that synergy when two people lose their ego”), which have both been praised by Björk.[100] Three additional music videos were released in 2017: “Blissing Me”, “Utopia” and “Arisen My Senses” with the former and latter also receiving limited edition remix EPs.[107][108][109] Utopia was nominated for Best Alternative Music Album at the 61st Annual Grammy Awards, making Björk’s fifteenth nomination at the Grammys.[110]
Björk performing in Paris during her Björk Orkestral show in 2022
On 22 May 2018, Björk appeared as the headlining musical guest on Later… with Jools Holland, her first time on the BBC series since 2011.[111] She sang a set of four songs, including a flute rendition of “The Anchor Song” from 1993’s Debut before embarking on the brief Utopia Tour, playing in several European music festivals during the summer.[112][113][114] On 12 November 2018, Björk announced a new concert production centered around her Utopia album, entitled Cornucopia. Björk described the show as one “where the acoustic and digital will shake hands”.[115][116] Cornucopia opened in May 2019 at the newly built The Shed in New York and was described as Björk’s “most elaborate staged concert to date.”[117][118] The residency show then traveled to Mexico and Europe for further dates in 2019.[119][120] Following the performances, Björk released music videos for “Tabula Rasa” and “Losss”, both directed by Tobias Gremmler and used as backdrop during the shows.[121][122] On 16 August 2019, Björk announced the Utopia Bird Call Boxset, a box set meant to celebrate the end of the album cycle which 14 wooden flutes that imitate various bird calls and a USB stick featuring the digital albums, music videos and remixes, alongside an unreleased instrumental track, “Arpegggio”.[123][124] On 6 September 2019, two remixes of “Features Creatures” were released as digital singles, one by Fever Ray and the other by the Knife. Both remixes, as well as Björk’s own remix of Fever Ray’s 2017 song, “This Country”, were collected on Country Creatures.[125]
On 27 September 2019, Björk made a surprise appearance during Mutant;Faith, Arca’s performance-art piece at The Shed, to debut “Afterwards”, a new collaboration which Björk performed in a combination of Spanish and gibberish.[126] The song is included on Arca’s fourth studio album KiCk i, which was released on June 26, 2020.[127] Björk is currently set to embark on her eleventh concert tour, called Björk Orkestral, in which she will perform orchestral arrangements of songs from her career so far.[128][129] As part of the tour, Björk was scheduled to perform at the Bluedot Festival in July 2020; however, the event was postponed due to the COVID-19 pandemic and she is now scheduled to headline in 2022.[130] Following the rescheduling, Björk announced a series of concerts to be live streamed online for charity, with each concert featuring a different set of musicians and instruments and a unique set list.[131]
In August 2020, Björk joined the cast of The Northman, the upcoming third feature film by Robert Eggers, co-written with Sjón, alongside her daughter Ísadóra Bjarkardóttir Barney, in her debut film role.[132][133] It was released on April 22, 2022, in the United States.
In an interview with The Mercury News published on 19 January 2022, Björk mentioned that she was wrapping up work on her upcoming tenth studio album, estimating a summer 2022 release.[134]
craftsmanship [edit]
style [edit]
Over her three-decade solo career, Björk has developed an eclectic and avant-garde[135][136] musical style that incorporates aspects of electronic,[135][137][138][139] dance,[139][140] alternative dance,[141] trip hop,[142] experimental,[1][143][144] glitch,[136] jazz,[136][145] alternative rock,[146][147] instrumental,[135] and contemporary classical music.[138][144] Her music has since been subject to critical analysis and scrutiny, as she consistently defies categorization in a musical genre.[148] Although she often calls herself a pop artist,[1] she is considered a “restlessly experimental creative force.”[149][150] According to The New Yorker’s Taylor Ho Bynum, “no contemporary artist so gracefully bridges the divide [between music experimentalist and pop celebrity] as Björk.”[151] Her album Debut, which incorporated electronic, house, jazz, and trip hop, has been credited as one of the first albums to introduce electronic music into mainstream pop.[152][153] Her work has been described as “frequently explor[ing] the relationship between nature and technology.”[154] Broadly summarizing her wide-ranging integration of art and popular music, Joshua Ostroff suggested that “there is no better descriptor for what Björk does than artpop.”[141] The NME also called her output a “consistently progressive pop agenda.”[155]
Björk’s work is idiosyncratically collaborative, having worked with various producers, photographers, fashion designers and music video directors. She however believes that her male collaborators have received more credit than her, which Björk attributes to her being a female artist.[156]
Evolution [ edit ]
During her career beginnings, Björk performed in bands from various musical genres: punk rock in Spit and Snot, jazz fusion in Exodus, post-punk in Tappi Tíkarrass and gothic rock in Kukl.[11] When working with Tappi Tíkarrass, she was heavily influenced by British new wave bands such as Siouxsie and the Banshees,[157] Wire, the Passions, the Slits, Joy Division,[158] and Killing Joke.[159] The studio album Gling-Gló (1990) was recorded with Tríó Guðmundar Ingólfssonar and featured jazz and popular standards sung “very much in the classic Ella Fitzgerald and Sarah Vaughan mould.”[160] The Sugarcubes’ style has been described as avant-pop[137] and alternative rock.[161] Although Björk was in various post-punk and alternative rock bands during the late 1980s, her contact with London’s underground club culture helped her find her own musical identity.[162]
Debut has been credited as one of the first albums to introduce electronic music into mainstream pop.[163][164] Being a fan of dance music since the early days of [acid house], Björk used dance music as the framework for her songs in Debut, stating in 1993 that it was the only “pop music that is truly modern” and “place where anything creative is happening today.”[165] However, in a Rolling Stone interview she also stated that she was more influenced the sensual and groundbreaking ambient music formerly found in Chicago and Detroit.[166] The music of Debut reflects the contemporary musical environment of London, where [Björk] lived in the early 1990s, especially the burgeoning trip-hop scene of bands like Portishead and Massive Attack.[167] Michael Cragg of The Guardian has described it as an “indefinable conflation of electronic pop, trip-hop, world music and otherworldly lyrics”;[168] while The Face’s Mandi James said it was “a delightful fusion of thrash metal, jazz, funk and opera, with the odd dash of exotica thrown in for good measure.”[169]
The 1995 album Post, known for its eclecticism,[170] is considered to be the “quintessential Björk” release, due to its protean form – more than any of her albums – and its “wide emotional palette”.[171] The entirety of the album was written after Björk’s move to England, and intended to reflect the faster pace of her new urban life.[172] The Guardian wrote that “Post tapped into the vortex of multicultural energy that was mid-90s London, where she had relocated and where strange hybrids such as jungle and trip-hop were bubbling.”[173] Post built on the dance-pop blueprint of Debut, but pushed its production and beats to the fore, with influences from all over the world.[174] While the “distant echoes” of IDM and trip-hop were present in Debut, Post is characterized by Björk’s fuller incorporation of these styles.[164] Referred to as a “genre roulette” by the San Francisco Chronicle,[175] it touches on various musical styles, including industrial music,[176] big-band jazz, trip-hop, chillout,[176] and experimental music.[177] The balance between synthetic and organic elements in the album – generated through the combination of electronic and “real” instruments – is a recurring characteristic in Björk’s output.[178][179]
Homogenic, until his death in 2014. Mark Bell contributed to much of Björk’s material, including his co-production of, until his death in 2014.
With her 1997 album Homogenic, Björk intended to make a simple record, one-flavoured record, in contrast with her previous releases.[180] Conceptually focused on her native Iceland,[180] the album is a “fusion of chilly strings (courtesy of the Icelandic String Octet), stuttering, abstract beats, and unique touches like accordion and glass harmonica”.[181][182] Björk incorporated a traditional singing method used by Icelandic choir men, a combination of speaking and singing as illustrated in the song “Unravel”.[183] While Homogenic still showed Björk’s inclination towards electronic dance-music and techno-futurism, Neva Chonin of Rolling Stone reflected on how the album was has steered away from the “sweet melodies and peppy dance collages of her earlier releases.”[184]
On the 2001 album Vespertine, Björk continued with her idiosyncratic general meshing of organic and synthetic textures, once again via the combination of electronic sounds and string arrangements.[185] However, Vespertine differed from Homogenic in its greater interest in intimacy and sexuality (the result of her new relationship with artist Matthew Barney),[1][186][187] with sharper melodies, minimalistic production and explicit lyrics inspired by poetry of E.E. Cummings and Sarah Kane’s play Crave.[185][188] Vespertine is also characterized by a newfound obsession with the auditory of analog technology, with a prevalent usage of loops, static and white noise, paradoxically contrasting the advancement of digital technology occurring in the 21st century;[189] thus, elements of glitch music have been identified.[190][191] Unlike previous albums like Debut and Post, electronic sounds has gained more prevalence, while the acoustic sounds are used as interjections.[189] Björk also stepped away from her signature shrieking singing style; her vocals often appear to be recorded close to the microphone and with little treatment, and sung in a sometimes “unstable whisper”, conveying a sense of close proximity and reduced space suitable for the lyrics that have grown to be more intimate.[192]
Björk’s 2004 studio album, Medúlla, is almost entirely constructed with human vocals,[1] with a vast scope of influences ranging from elements of folk to medieval music.[193] Wondering Sound wrote that despite “its comparative starkness, [Medúlla is] every bit as sensual as [Vespertine].”[185] The publication also added: “The electronic treatments range from industrial distortion to percussive glitches and dreamy layering, rarely descending into novelty.”[185] The album combines beatboxing, classical choirs that suggest composers like Penderecki or Arvo Pärt, and “mews, moans, counterpoint and guttural grunts” provided by Björk and guests like Mike Patton, Robert Wyatt and Tanya Tagaq.[194] Medúlla includes “vocal fantasias” that lean toward chamber music, alongside tracks that “are obviously but distantly connected to hip-hop.”[194] Glimpses of Bulgarian women’s choirs, the polyphony of central African pygmies, and the “primal vocalisms” of Meredith Monk were also noted.[194]
Volta, released in 2007, received coverage after the inclusion of R&B producer Timbaland; however, NME wrote that “this is not Björk ‘going hip-hop’ or having a late-breaking pop reinvention.”[195] It has been said that the album achieves the perfect balance between her vibrant, poppier works in the ’90s and her experiments in the 2000s.[196] Björk wanted the album’s beats to be “effortless, primitive, lo-fi style”, in contrast with Vespertine.[197] It combines a large brass ensemble with live and programmed drums and “ethnic instruments” like likembé, pipa and kora.[197] Volta alternates between potent, joyful songs, and moodier, more contemplative tracks, “all of which are tied together by found-sound and brass-driven interludes that give the impression that the album was recorded in a harbor”.[196]
Biophilia, of 2011, showcases Björk’s more avant-garde tendencies, drawing comparisons to Stockhausen and Nico’s 1969 album, The Marble Index.[135][198] The track Moon mesmerisingly encapsulates the comprehensive progress made across her previous works with metaphorical lyrics of natural phenomena and their impact on humans.[199]
The music in Vulnicura is centered on Björk’s voice, orchestral strings and electronic beats.[1][200] This combination was already present in Homogenic, certainly the consequence of the common topics treated by both albums: “heartbreak and perseverance”.[1]
Utopia harkened back to previous works such as Vespertine and Homogenic, combining organic and electronic elements. It has been referred to Björk’s flute album, akin to the heavy prevalence of Vespertine’s celeste, Volta’s brass, Medulla’s voices and Biophilia’s choir.[201] Arca and Björk closely collaborated in the album’s production, and more consistently than her work with the late Mark Bell. The Venezuelan producer also takes a lead role in production.[202]
Influences [ edit ]
While Björk said that she was influenced by “Everything”,[203] she has name-dropped Stockhausen, Kraftwerk, Brian Eno and Mark Bell as some of the people who influenced her the most.[204] Some “confessional singer-songwriters” Björk commends include Abida Parveen, Chaka Khan, Joni Mitchell and Kate Bush, the latter being a definitive influence in her career.[156] Mitchell also inspired her to write her own songs, saying that that Mitchell “created her own [female musical universe]”, and found it “very liberating.”[205] According to Pulse: “a lot of Björk’s early influences were books (George Bataille’s Story of the Eye, Mikhail Bulgakov’s The Master and Margarita) and films (Tampopo, Star Wars, The Tin Drum) available internationally. […] But talk about Iceland and you’re getting to the heart of the matter, the source of her spirited outlook on life.”[206]
During her formative years at music school, Björk became interested in avant-garde, classical, and minimalistic music;[135][207] also becoming a “jazz freak”.[208] Although her music is more consistently tonal and has more crossover appeal, she is considered indebted to avant-garde composers Karlheinz Stockhausen, Meredith Monk, Sun Ra and Philip Glass.[151][209] In a 2008 article for The Guardian, Björk considered Stockhausen as the root of electronic music, writing “he sparked off a sun that is still burning and will glow for a long time.”[210] Early in her career, Björk cited Sir David Attenborough as her biggest musical influence, saying “she identified with his thirst for exploring new and wild territories.”[211] She also stated that she “[likes] to discover sounds I had never heard before.”[212]
Voice [ edit ]
Björk is a soprano, with a range spanning from E 3 to D 6 .[213][214][215][216] Her singing voice has been described as both “elastic” and “somersaulting” in quality as well as being praised for her scatting ability, unique vocal stylings and delivery.[217] In a review for her live performance at the 2011 Manchester International Festival, Bernadette McNulty of The Daily Telegraph commented, “the 45-year-old still uses electronic dance beats with a full-blooded raver’s passion and the elemental timbre of her voice has grown more powerful with age”.[218]
In late 2012, it was reported that Björk had undergone surgery for a polyp on her vocal cords. Commenting on the success of the procedure after years of maintaining a strict diet and using vocal exercises to prevent vocal injury, she “stayed quiet for three weeks and then started singing and definitely feel like my cords are as good as pre-nodule”.[219] However, in a review for Biophilia, Kitty Empire of The Guardian stated that pre-surgery Björk still sounded strong, commenting that her voice was “spectacular and swooping”, particularly on the song “Thunderbolt”.[220]
In a similar vein, Matthew Cole of Slant Magazine adds that her voice has been “preserved quite well”; however also noting that her voice has become too hoarse and shouty, adding “it’s only where her most dramatic vocal pyrotechnics are concerned that there’s any question of physical ability”.[221] National Public Radio counted Björk among its list of “50 Great Voices” and MTV placed her at number 8 on its countdown “22 Greatest Voices in Music.” She has been ranked 60th as one of the 100 greatest singers ever, and 81st as one of the 100 greatest songwriters ever by Rolling Stone, who praised her voice as being unique, fresh and extremely versatile, fitting and being influenced by a wide range of influences and genres.[222][223][224]
Personal life[edit]
When forming the Sugarcubes, Björk had a brief marriage with guitarist Þór Eldon. They had a son, Sindri Eldon Þórsson, born 8 June 1986, the same day that the band was formed.[23] They had divorced before the end of 1986, but continued to work together in the band.[225]
Move to London and Spain [ edit ]
Following the breakup of the Sugarcubes, Björk moved to London, where she was immediately offered a record deal. She became engaged to London-based DJ Goldie,[226] but broke up with him in 1996.[227] She also had a brief relationship with musician Tricky in the 1990s.[228] During this period, she became involved with the trip hop scene with which Goldie and Tricky were associated. Björk also began her work with fashion designer Alexander McQueen. As a result of her time spent in London, Björk developed a cockney accent, evident in her interviews given in English at the time.[229]
In London, Björk grew tired of public life and the constant harassment from the paparazzi, in particular over a murder attempt by a stalker, Ricardo López, and her relationships with Tricky and Goldie. She moved to Spain after receiving an offer to stay there from Trevor Morais, her tour drummer, who had a residential studio at Marbella, Andalusia,[230] where she produced Homogenic (1997).
Paparazzi confrontations [ edit ]
In February 1996, Björk arrived at Bangkok International Airport with her son Sindri after a long-haul flight. Reporters were present, despite Björk’s early request that the press leave her and her son alone until a press conference. As Björk attempted to walk away from the paparazzi, television reporter Julie Kaufman approached Sindri and said, “Welcome to Bangkok!” In response, Björk lunged at Kaufman, knocking her to the ground and banging her head against the concrete floor until security intervened. Björk later apologized to Kaufman, who declined to press charges.[36]
On 13 January 2008, Björk attacked a photographer who had photographed her arrival at Auckland International Airport for her scheduled performance at the Big Day Out festival.[231] Björk allegedly tore the photographer’s shirt down the back, and in the process she fell to the ground.[232] Neither the photographer nor his employer, The New Zealand Herald, lodged a formal complaint, and Auckland police did not investigate further.[233]
Ricardo López [ edit ]
On 12 September 1996, Ricardo López, a mentally ill, obsessed American fan of Björk, mailed a letter bomb loaded with sulfuric acid to Björk’s London home, before returning home and filming his suicide in the final part of a disturbing video diary.[35] The package was intercepted by the Metropolitan Police Service.[35][36][37] In the final video, a naked López shaves his head and eyebrows, and paints himself with red and green paint whilst listening to Björk’s music.[234] As Björk’s song “I Remember You” finishes playing, López shouts “This is for you” and shoots himself in the mouth with a revolver.[235][236] López had talked in his video diary of his plot, and was angered at Björk’s relationship with Goldie, which López perceived as a betrayal, and the fact that she was involved with a black man, writing in his diary: “I wasted eight months and she has a fucking lover”, and he began fantasizing about how he could “punish” Björk.[237] Prior to this, he had been gathering information about her life, followed her career, and wrote her numerous fan letters.[238] Initially, López cited her as his muse, and said that his infatuation gave him a “euphoric feeling”. However, as time passed, his fixation became all-consuming, and he grew more disconnected from reality.[235] In his diary, López had written of longing to be accepted by Björk, and to be a person who had “an effect on her life”. He fantasised about inventing a time machine to travel to the 1970s and befriending her as a child. His fantasies about Björk were not sexual; in his diary, he wrote, “I couldn’t have sex with Björk because I love her.”[238] Unbeknownst to López, Björk and Goldie had ended their relationship a few days before he committed suicide.[239]
In her few public comments on this event, Björk said she was “very distressed” by the incident,[38] and said, “I make music, but in other terms, you know, people shouldn’t take me too literally and get involved in my personal life.”[39] She sent a card and flowers to López’s family.[240] She left for Spain, where she recorded the remainder of her third album, Homogenic, away from media attention.[241] She also hired security for her son, Sindri, who was escorted to school with a minder.[242] A year after López’s death, Björk discussed the incident in an interview: “I was very upset that somebody had died. I couldn’t sleep for a week. And I’d be lying if I said it didn’t scare the fuck out of me. That I could get hurt and, most of all, that my son could get hurt.”[236] López subsequently became known in the press as the “Björk Stalker”.
Matthew Barney [ edit ]
In the late 1990s, Björk lived in New York, where she met artist Matthew Barney in the art scene. The pair formed a relationship and started living together, moving to Brooklyn Heights in 2000.[243] Their daughter Isadora Barney was born in 2002. Barney and Björk initially kept their work separate, but then collaborated on Barney’s art film Drawing Restraint 9, a long-term project released in 2005; Björk acted in the film and also contributed musical elements.[244] The couple broke up in 2013. At the time, she described it as “the most painful thing” that she had ever experienced. The album Vulnicura, and in particular the track “Black Lake”, were written about the breakup.[245] Björk began to reside half of each year in Brooklyn Heights and the other half in two residences in Iceland with her daughter.[246][247]
Other ventures[edit]
Charitable work [ edit ]
After the tsunami that struck Southeast Asia in late 2004, Björk began work on a new project titled Army of Me: Remixes and Covers to help raise money for a relief fund. This project recruited fans and musicians from around the world to either cover or remix the 1995 track “Army of Me.” From over 600 responses, Björk and her co-writer Graham Massey picked the best 20 versions to appear on the album. The album was released in April in the UK and in late May 2005 in the US. By January 2006, the album had raised about £250,000 to help UNICEF’s work in the southeast Asian region.[248] Björk visited Banda Aceh in February 2006 to view some of UNICEF’s work with the children who were affected by the tsunami.[249]
On 2 July 2005, Björk took part in the Live 8 series of concerts, headlining the Japan show with Do As Infinity, Good Charlotte and McFly. She performed eight songs with Matmos, a Japanese string octet, and Zeena Parkins.[250][251]
Political activity[edit]
Björk’s years in Kukl aligned her with the anarchist Crass Collective.[252] While she has since been hesitant to be seen as an overtly political figure, and has said so on her website,[253] she is supportive of numerous liberation movements, including independence for Kosovo.[254]
She dedicated her song “Declare Independence” to Greenland and the Faroe Islands, which caused a minor controversy in the Faroes. After Björk twice dedicated “Declare Independence” to the people of Kosovo during a concert in Japan,[255] her upcoming performance at Serbia’s Exit Festival was cancelled, reportedly for safety concerns. In 2008, Björk created international controversy after she dedicated “Declare Independence” to the International Tibet Independence Movement during a Shanghai concert, chanting “Tibet! Tibet!” during the song. China’s Ministry of Culture issued a denunciation through state news agency Xinhua, stating that Björk “broke Chinese law” and “hurt Chinese people’s feelings” and pledged to further tighten control over foreign artists performing in China. A later statement accused Björk of “whipping up ethnic hatred.”[256] In 2014, Björk created a Facebook post dedicating the song to the people of Scotland as they neared the referendum on their independence.[257] In October 2017, she posted a tweet dedicating the song to Catalonia on the occasion of the Catalan independence referendum.[258]
Björk has also taken an interest in environmental issues in Iceland. In 2004, she took part in the Hætta concert in Reykjavík, organised in protest against the building of Alcoa aluminium smelters in the country, which would make Iceland the biggest smelter in Europe.[259][260] She founded the organisation Náttúra, which aims to promote Icelandic nature and grassroots industries.[261] In October 2008, Björk wrote an article for the Times about the Icelandic economy and provided her opinion on the proposed use of natural resources to rescue the country from debt.[262] In collaboration with Audur Capital, she set up a venture capital fund titled BJÖRK to support the creation of sustainable industries in Iceland.[263]
Björk wrote the foreword to the English translation of the Icelandic bestseller by Andri Snær Magnason titled “Dreamland.”
On 21 May 2010, Björk wrote an open letter in The Reykjavík Grapevine calling on the Icelandic government to “do everything in its power to revoke the contracts with Magma Energy,” the Canadian company that owns Icelandic geothermal company HS Orka.[264][265]
In 2014, Björk helped to organise Stopp, Let’s Protect the Park, an event organised to raise money and awareness for the preservation of Icelandic nature. This included a show at Harpa Concert Hall, at which she performed three songs. The concert initially raised $310,000[266] and went on to raise £3 million overall, with plans to use the money to establish a national park.[267]
Protégés [ edit ]
Over her extensive career, Björk has frequently used her position and influence to help launch new acts or mentor them as they establish themselves as recording artists.
The first example was the Iranian-born electronica producer Leila Arab, who was initially recruited to play keyboards and provide backing vocals on Björk’s first international solo tour in 1993 in support of Debut. In 1995, Björk recalled Arab for her second touring band for tour in support of Post. This time, Arab was given her first opportunity to experiment with live output mixing from the stage rather than playing keyboards. This would later form the basis of Arab’s own solo music career, in which she has integrated live mixing into her own compositions and live shows. Arab went on to release three international solo albums throughout the 1990s and appears on the influential electronica labels Rephlex Records, XL Recordings and Warp Records.[268]
In 1998, Björk established her own short-lived record label, Ear Records, which operated under the One Little Indian Records umbrella. Her only signee that received a release was her longtime friend Magga Stína, who recorded her debut solo album under the production of Björk’s longtime collaborator Graham Massey (of the British electronica act 808 State). The album was simply titled An Album and featured just one single release, “Naturally.” In 1998, Björk invited Magga to perform as her support act on the Homogenic Tour, and in 2004 Magga contributed to the production of Medúlla. Magga still performs and records in Iceland.
In 2001, Björk became aware of Canadian Inuit throat singer Tanya Tagaq and invited her to perform on several dates of Björk’s Vespertine World Tour as a special guest. In 2004, Tagaq was invited to collaborate on the a cappella album Medúlla, in which the duet “Ancestors” was recorded. “Ancestors” was later featured on Tagaq’s first solo album, Sinaa, in 2005.
In 2004, Arab discovered the work of Finnish multimedia artist Heidi Kilpeläinen, who had taken her combination of lo-fi, homemade electro pop with her own self-produced music videos and combined them under the alter ego character HK119. Leila soon referred HK119’s work to Björk, who started mentioning HK119 in various press and interviews. In 2004, Arab announced HK119 as her favourite act of 2004. HK119 was soon signed to Björk’s parent label One Little Indian Records, which released her debut album in 2006. HK119 and Björk appeared in a joint interview in Dazed & Confused magazine in 2006, in which Björk stated about HK119’s work: “It’s unique. Even if I gave you $3 million, you couldn’t improve on it… [Its] simplicity is [its] strength.”[269] HK119 later released her albums Fast, Cheap and Out of Control in 2008 and Imaginature in 2013, both on One Little Indian Records.
In 2009, Björk used her website and various radio interviews to promote two more new acts. The first was fellow Icelandic musician Ólöf Arnalds, who is also a member of the Icelandic folktronica band múm. In 2006, Arnalds released her debut solo album Við Og Við in Iceland. Björk mentioned Arnalds among her favourite recent new acts during a radio interview, and encouraged One Little Indian Records to reissue the album in the UK and Europe in 2009. Björk also praised the works of English artist Micachu and Syrian vocalist Omar Souleyman. She later used her website to host the premiere of Micachu’s debut video for Rough Trade Records, “Turn Me Well.”[270]
Discography[ edit ]
Debut (1993)
(1993) Post (1995)
(1995) Homogenic (1997)
(1997) Vespertine (2001)
(2001) Medúlla (2004)
(2004) Volta (2007)
(2007) Biophilia (2011)
(2011) Vulnicura (2015)
(2015) Utopia (2017)
(2017) TBA (2022)
Filmography [ edit ]
Tours [ edit ]
Bibliography[edit]
Awards and nominations[edit]
On 26 April 1997, Björk received the award of the Order of the Falcon.[271]
See also[edit]
References[edit]
Quotations[edit]
Book sources [ edit ]
Further Reading[edit]
Björk Everything you need to know about our most famous export
Björk was Iceland’s first celebrity to achieve real fame abroad. However, Björk Guðmundsdóttir, as her full name is, is a figurehead of the Icelandic cultural scene in every respect. In her unique, quirky and uncompromising way she has enchanted the world and she is far from retired.
The short version of her life and career is captured in this video, but stay tuned if you want to know something deeper!
Bjork, the early years
Björk was born on November 21, 1964 in the Icelandic capital Reykjavik. Her parents Guðmundur (union leader and electrician) and Hildur Rúna (activist) divorced early in her life and she lived with her mother in a commune. Her stepfather was a guitarist in a band called the Pops, so music was certainly a part of her upbringing. At the age of six, Björk was enrolled in a music school for children, where she studied classical piano and flute, marking the beginning of her music career.
Where everything began
At a school concert, Björk was recorded singing by her teacher. Fortunately, this teacher then sent the tape to the leading radio station in Iceland. So the recording of Björk’s singing was broadcast nationally. Eventually she landed a record deal that led to her self-titled debut album Björk. The album was recorded when she was 11 but released in December 1977. Björk contained famous Icelandic children’s songs sung by Björk.
Bjork the teenager
From light-hearted childhood music, super-cool 14-year-old Björk formed an all-girl punk band called Spit and Snot. And the following year, she would not only form a new band, this time a jazz fusion group called Exodus, but she would also graduate from music school.
In 1982, Björk and bassist Jakob Magnússon formed the group Tappi Tíkarrass, which roughly translates to “Cork Bitch’s Ass” in English – there’s never a dull moment in linguistics.
The group was later featured in the documentary Rock in Reykjavík, where a famous photo of Björk in a yellow dress was used for the cover. Fun Fact: You can actually buy this cover as a poster at many of the local downtown tourist and book stores!
Bjork, the young adult
Rokka Rokka Drum was the next group Björk formed. But this was Björk’s first time collaborating with the poet Sjón, whom she had known for a long time and with whom she formed a close friendship. Around the same time, she met guitarist Þór Eldon, with whom she would later date and father their son.
Now, at this very time, Björk is beginning to develop the vocalization she is still known for today – the howling and high-pitched screeching.
But where did their signature sound come from? A radio show in Iceland called Áfangar was suddenly canceled. To celebrate the end of the show with a bang, some artists were asked to play the final live show. Björk, Einar Melax, Einar Örn Benediktsson, Sigtryggur Baldursson, Guðlaugur Óttarsson and Birgir Mogensen played the gig. Together they developed a gothic rock sound that evening. They played so well together that they decided to continue playing together as a group under the name Kukl (which means magic in Icelandic).
Kukl the band
Kukl released their first single in 1983, followed by an appearance at a music festival in Iceland fronted by English anarchist punk band Crass. The headlining band loved Kukl’s performance and their record label Crass Records offered the band a record deal. In addition, the following year the album The Eye was released, which led to a two-month tour of Europe, during which Kukl performed at the famous Roskilde festival in Denmark. Becoming the first Icelandic band ever to play that gig.
The following year, Björk discovered that she was pregnant. She continued to tour, but the band eventually broke up. Björk and Þór Eldon then married in 1986 and soon welcomed their son Sindri into the world.
The sugar cubes
In the summer of 1986, Einar Örn and Björk’s then-husband Þór Eldon founded the artist collective Smekkleysa, or Bad Taste as it would be called in English. The plan was to be both a record label and book publisher, and old friends came over to take part. Over time, the Kukl band was semi-recovered and they started playing again. However, at one of their earlier gigs, the band started referring to themselves as the Sugarcubes, or Sykurmolarnir in Icelandic, and it stuck. This should be the start of something big!
On a personal level, Björk and Þór had divorced but continued to work together.
The Sugarcubes go abroad
On Björk’s 21st birthday they released their first two songs and by the end of the year they were already signed. That translated one of their first singles “Afmæli” and was released on 17 August 1987 in the UK under the name “Birthday”. The following week, it was named Single of the Week by Melody Maker. In 1988 the Sugarcubes were signed in the USA and they recorded their first album “Life’s Too Good”.
The album sold really well and the Sugarcubes toured North America and received loads of positive feedback. The band even performed on Saturday Night Live. Unfortunately her follow-up album Here Today, Tomorrow Next Week wasn’t as successful and Björk started working on her solo stuff. By this point she had decided to leave the band, but was contractually bound to complete the third album and follow it up with a tour. She kept her end of the deal and Stick Around for Joy came out in 1992. Although not long-lived, Rolling Stone called the Sugarcubes the greatest rock band to emerge from Iceland.
Bjork goes solo
Some of Björk’s first solo work was for Sódóma Reykjavík, which would later prove to be something of an Icelandic cult film. But she was featured on two songs on the soundtrack.
She also did some backing vocals, but one of her best-selling albums in Iceland is still a jazz collective called Gling-Gló, which she collaborated with Tríó Guðmundar Ingólfssonar on. It was around this time, however, that Björk’s interest in house music emerged when she contributed vocals to 808 State’s album Ex:el. That same year, she met harpist Corky Hale, who would prompt a recording session for her future album Debut.
It’s 1993 and Björk is moving to London.
She began working with producer Nellee Hooper, famous for producing Massive Attack, among other things. Their collaboration spawned Björk’s first international solo hit, “Human Behaviour.” It didn’t garner a lot of radio time to receive, but it did gain a lot of airtime, especially on MTV.
The video was directed by Michel Gondry and they would work together extensively in the years that followed.
Björk’s first solo album
Björk’s debut solo album Debut was released in June 1993 and was named NME Album of the Year and certified platinum in the US. The album featured some personal songs for Björk, many of which she wrote as a teenager. It varied greatly in instrumentation, but maintained a dance-like rhythm throughout. Titles include:
“Venus as a Boy”
“Like someone in love”
“The Anchor Song”
Björk, the award-winning artist
The following year, Björk was recognized at the Brit Awards, winning Best International Female and Best International Newcomer. Her acclaim led to some high-profile collaborations, but she worked with David Arnold on the song “Play Dead” for the film The Young Americans and later appeared on tracks for Plain before co-writing the song “Bedtime Story” for none other wrote Madonna!
Björk’s next album was released in June 1995 and was called Post. She’s collaborated with some new artists on this project, which you can see in some of her work, as trip-hop and electronic sounds show up in tracks like “Possibly Maybe” and “Enjoy B, Tricky and her old friend Graham Massey.” .
The album was an absolute hit and was on every top album list during that time. It peaked in 2003 when the album ranked number 373 on Rolling Stone magazine’s list of the 500 Greatest Albums of All Time. Not too shabby!
Perhaps the most famous song on Post.
1997 and onwards
Björk’s next album, Homogene, was released in 1997. This album marked a noticeable change in style and never before had she been as personal, emotional and experimental as what many would still consider her style. Some of the beats on the album are meant to reflect the landscape of Björk’s native Iceland, which is very visible in the song “Jóga”.
The album went gold in the US in 2001. And included songs like:
“bachelorette”
“All Is Full of Love” (first music video ever released on DVD)
The Musical Process
In 1999, Björk was hired to write and produce the film score for Dancer in the Dark. The film was directed by Lars Von Trier who, after much effort, managed to convince Björk to play the lead role of Selma. The film debuted at the 53rd Canned Film Festival and received the Palme d’Or, with Björk receiving the Best Actress award for her role. She was later quoted as saying this was the only musical she would ever do.
Photo from Wikipedia Commons | George Biard
However, the soundtrack went even further and was released under the title Selmasongs. One of the songs on the album I’ve Seen It All, a duet with Radiohead’s Thom Yorke, was nominated for an Oscar and performed at the 2001 Oscars. It was then that Björk famously showed up in her iconic Marjan Pejoski swan dress.
Cristiano Del Riccio | Wikipedia Creative Commons
Bjork and the 2000s
In 2001, Björk released another album, her fastest selling album to date, selling 2 million copies in one year. The album is called Vespertine. This was their largest project jet, involving artists from a wide range and requiring acoustics of the highest caliber for their subsequent shows. The album featured chamber orchestras, muted vocals, harpists, DJs, choirs, homemade microbeats and personal, vulnerable themes. The album consisted of songs like:
‘Hidden Place’
‘Pagan Poetry’
‘Cocoon’
During the album’s tour, Björk was joined by Matmos, Parkins and perhaps, most surprisingly, an Inuit choir for whom she would travel to Greenland to audition.
In 2002 the CD box Family Tree was released. It consists of selected rare material never shown before, including her work with the Brodsky Quartet. Alongside this she also released a greatest hits album but these songs were carefully selected from a fan pool on Björk’s website and a DVD collection of all her solo music videos!
In late 2002, Björk gave birth to daughter Ísadóra Bjarkardottir Barney. She is the daughter of Björk and Matthew Barney, an American contemporary artist and director. They were together from 2000-2013.
Björk’s Medulla
In 2004 the Medúlla album was released. Björk originally wanted the album to be based entirely on vocals and worked with artists such as throat singer Tanya Tagaq, beatboxer Rahzel, beatboxer Dokaka, avant rocker Mike Patton, Robert Wyatt and several choirs, but eventually introduced instruments into the production. The album received a Grammy nomination!
Later that year, Björk performed Oceania, written specifically for the occasion at the Athens 2004 Summer Olympics. As she sang, her dress slowly began to unfold, revealing a 10,000-square-foot map of the world. The card then flew over all of the competing athletes, creating a magical moment at the opening ceremony.
Songs to be released in the following months were “Triumph of the Heart” and “Where is the Line”.
2005 to 2010
In 2005, Björk and his then-partner Matthew Barney were working on an experimental film. Björk’s second film at the time was called Drawing Restraint 9. Through the film, they explored Japanese culture and in the film, the couple turns into whales. Björk also did the film’s soundtrack. It’s been quite a film year for Björk, but she’s also appeared in the documentary Screaming Masterpiece, which explores the Icelandic music scene. It features clips from Sugarcubes, Tappi Tíkarrass and interviews with Björk.
It was around this time that Björk was the winner of Best International Female Solo Artist at the Brit Awards for the second time. She was also recognized with the Inspiration Award at the Annual Q Magazine Awards, an honor she accepted from Robert Wyatt, with whom she had worked on Medúlla.
Volta
In 2007, Björk released Volta, a full-length studio album that covers the entire spectrum. It consisted of contributions from the likes of hop-hip producer and The Way I Are star Timbaland, singer Anohni, poet Sjón (who has her in the Sugarcubes), kora master Toumani Diabaté and electro- Beat programmer Mark Bell, an all-female Icelandic choir and pipa player Min Xiaofen. Volta was Björk’s first album to reach the top 10 in the US, but also peaked at number three in France and number seven in the UK.
Some of the most famous songs on the album:
“Invaders of the Earth”
‘Innocence’
“Declare Independence”
‘Wanderlust’
“The Dull Flame of Desire”
The next release we saw from Björk was quite original, but it was announced through an Ebay auction. It was a new track called Náttúra (Nature in English) and was intended to “encourage active support for a more environmentally responsible use of Iceland’s natural resources”, reflecting Björk’s longstanding environmental activism.
Bjork from 2010
In June 2010, Björk announced in collaboration with Dirty Projectors that they would be creating a joint EP called Mount Wittenberg Orca to raise money and awareness for marine conservation. Later that year she released The Gomet Song, which is part of the soundtrack for the film Moomins and the Comet Chase
In the same year, Björk collaborated with fellow Icelander Ólöf Arnalds to create a song called “Surrender”.
On December 7, 2010, she released a song called “Trance” which she had been keeping for some time. It was also a backing track to a short film by artist Nick Knight entitled “To Lee, with Love” in homage to McQueen, but Björk collaborated with him on several occasions.
Björk’s biophilia
In 2011, Björk released Biophilia, with which Björk once again managed to surprise everyone with her originality and creativity. The album was much more than just an album, it combined music with technological innovation and themes from nature and science. It was the world’s first app album, but each song had its own downloadable app! In 2014 they were permanently exhibited at MoMA in New York.
The project also included an educational collaboration with specialized workshops for school children aged 10-12, bringing music and science together. The program was eventually purchased by the Reykjavik City Board of Education for all of the city’s schools over the next three years.
Biophilia toured for two years and included songs like:
“Crystalline”
‘Cosmogony’
‘Virus’
‘Moon’
In 2013, Björk starred alongside Sir David Attenborough in a Channel 4 documentary entitled When Björk met David Attenborough. They discussed the human relationship to music, with a focus on biophilia.
Bjork now
Björk’s next album was Vulnicura, crafted with Arca and Haxan Cloak. This was Björk’s ninth album. Tragically, what was supposed to be the full version of the album two months earlier was leaked just days after the announcement. To make up for lost sales and publicity, and to ensure fans are getting the right quality version, it was made available on iTunes worldwide.
This invasion was probably even more personal since the album was Björk’s chronicle of her breakup with Matthew Barney.
“Black Lake”
“Mouth Mantra”
“stone milker”
Bjork at MoMA
In 2015, New York’s Museum of Modern Art held an exhibition spanning Björk’s career from Debut to Biophilia. While not previously announced, some parts of Vulnicura were included.
On October 2, 2015 Vulnicura Strings was announced, the album was an acoustic version of the previous hit. It featured additional string arrangements as well as the viola organista, a unique stringed instrument played on a keyboard designed by Leonardo da Vinci.
Also, just a week later, the live version was announced on a double CD/LP set, but would only be sold through Rough Trade record stores. It was sold out in five days. Each format is limited to a thousand copies each, making it one of the rarest physical releases of her recent career.
Vulnicura was nominated for a Grammy Award.
Bjork Digital
In June 2016, Björk opened a Björk Digital Virtual Reality exhibition in Sydney, Australia. The exhibition shows all virtual reality videos completed for Vulnicura so far. In addition, the world premiere of Notget. Björk transformed the exhibition into immersive visual worlds using 360-degree cameras, drones and 3D printing. She subsequently began using more custom-made masks around the same time. Here’s an amazing video with mask maker James Merry.
She DJed on opening night in Sydney and repeated in Tokyo for the same show. During her time in Tokyo, Björk made world history by appearing in the first-ever virtual reality live stream over YouTube.
Also, Björk gave a live performance of Vulnicura’s song “Quicksand”. The footage was integrated into the VR experience “Quicksand”. Björk Digital has traveled the world, stopping in London, Montreal, Barcelona, Los Angeles and Houston.
Bjork the activist
In 2017, Björk once again used her music to bring focus to important issues when she announced a special 7-disc box set would be released to support Planned Parenthood. It showcased a wide range of musicians, visual artists, comedians and writers, all of whom have contributed new, previously unreleased or rare material.
Björk’s utopia
In 2017, Utopia re-emerged and collaborated with Acra on its production. Funnily enough, Björk described it as her Tinder (dating app) album, implying that the previous one was her heartbreak album. For the same reason, the album was completely different from all the others. Decorated with flautists and even Björk on the flute.
The album was nominated for Best Alternative Music Album, making it Björk’s fifteenth Grammy nomination.
Includes songs from the album.
‘The gate’
“make me happy”
‘Arose my senses’
‘utopia’
In 2018, Björk announced a new project, Cornucopia, which opened at The Shed in May 2019. It is said to have been Björk’s most elaborate stage concert to date.
Things you might not know about Bjork
Björk was actually a child star in Iceland.
She released her first album at the age of 12.
The name Björk is Icelandic and means birch, like the tree.
Björk is the mother of two children, son Sindri and daughter Ísadora.
In 1996, an obsessed fan, Richardo López, tried to kill Björk by sending her a letter bomb.
In 2000, Björk was nominated for an Oscar for her song “I’ve Seen It All.”
Björk was the first to release music videos on DVD.
Björk released the first app album.
The video for the song “Pagan Poetry” was banned on MTV, but it features graphic piercings, Bjork’s nipples bared, and even a scene simulating fellatio. In 2002, however, it aired unedited as part of a late-night special on MTV2 entitled Most Controversial Music Videos.
Björk was invited to record the famous “Gollum’s Song” for the film The Lord of the Rings: The Two Towers. However, she declined the invitation as Björk was pregnant with Isadora at the time. The song was instead recorded by another Icelandic artist, Emiliana Torrini.
Björk performed her version of the song “Gloomy Sunday” at the Alexander McQueen memorial service in London.
To end on a seminal note. Here is her Instagram. It’s kind of a must-follow!
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