Monday, June 15, 2015


Björk went hunting for mysteries and explored quiet resonance in this flirtation with electric shocks and modern hyperballadry.  After three albums with The Sugarcubes (Life's Too Good;  Here Today, Tomorrow Next Week!;  and  Stick Around for Joy) Icelandic child star Björk Guðmundsdóttir released her second solo album 'Debut' in 1993 to widespread success.  She won the awards for Best International Female and Best International Newcomer at the 1994 BRIT Awards and found herself a hot commodity, collaborating with David Arnold, Tricky, and Madonna; and doing a cameo in the film Prêt-à-Porter.

 For her next album, she worked with several different producers to develop an eclectic sound.  The sessions took place at Compass Point Studios in the Bahamas.   'Post' credits  Björk on vocals, production, arrangements, keyboards, organ, string arrangements, brass arrangements, and beat programming;   John Altman as conductor and on orchestra arrangements;   Gary Barnacle on soprano sax;   Howie Bernstein on production, programming, engineering, and mixing;   Stuart Brooks, Einar Orn, and Maurice Murphy on trumpet;   Jim Couza on hammer dulcimer;   Eumir Deodato was a conductor and did the string arrangements;   Marcus Dravs on programming, engineering, and mixing;   Al Fisch, Steve Price, and Al Stone on engineering;   Lenny Franchi on programming and engineering;   Martin Gardiner on lotus flower modelling;   Isobel Griffiths as orchestral contractor;  Nellee Hooper as producer;   Graham Massey on production, keyboards, and programming;   Me Company did the artwork/packaging design;   Tony Pleeth on cello;   Stéphane Sednaoui on photography;   Guy Sigsworth on harpsichord;   Talvin Singh on percussion;   Rob Smissen on viola;   Mark "Spike" Stent on mixing;   Tricky on production, keyboards,and  programming;   Marius de Vries on keyboards and programming;  and Gavin Wright as orchestra leader.

Björk reveals:   "Whereas 'Debut' was like the greatest hits of ten years, 'Post' was like the last two years. For me, all the songs on the album are like saying, 'listen, this is how I'm doing,' and that's why I called the record 'Post', because i always address my songs back in my head to Iceland in a letter. Because it was such a big jump for me to move away from all my relatives, all my friends, everything I know  ...  [The title] was a combination of things. I felt the album was the other half of Debut, so it made sense to call it Post — before and after kinda thing. Also, my friend Hussein Chalayan had made a whole [clothing] collection on Belgian envelope paper (I wear a jacket from it on the cover), so it sort of was in the air at the time. This word was waiting to be used  ...  I was very aware of it at the time that I needed to be musically promiscuous and have almost every song [a] different mood/style and so on. The picture on the cover is me on Piccadilly Circus too excited, too many things, Bright Lights Big City kinda thing, and me eager to consume. So my musical heart was scattered at the time and I wanted the album to show that  ...  I had written two tracks with Graham Massey before I did Debut: “Army Of Me” and “The Modern Things.” Then I met Nellee Hooper and we ended up doing a whole album’s worth of stuff together, so I decided to keep those two songs, wait, and put them on the next album. Post then ended up being more schizophrenic with collaborations of a lot of people, so it was a better match.  Graham came up with [“Army Of Me’s”] bass riff. I had written that melody earlier in Iceland. It matched very well together, I felt. I then did the sarcastic scratch noises in the chorus with a coin on a deep bass string that Graham sampled for me ...  [“It’s Oh So Quiet”] was the last song we did. Just to make it absolutely certain that the album would be as schizophrenic as possible, that every song would be a shock  ...  When me and Nellee decided to work together again on Post, I wrote [“Cover Me”] to him. I guess I was trying to make fun of myself, how dangerous i manage sometimes to make album making. And trying to lure him into it. but it is also a admiration thing from me to him. I wouldn’t have trusted anyone else ... [“Headphones”] was written to Graham Massey as a thank you. He was the best tape maker there was. He would make compilation cassettes and I would play them non stop. But, of course, it is also a love letter to sound. The sound of sound. Resonances, frequencies, silences and such … a music-worship thing.

'Post' found its way to number thirty-two in the US; thirteen in Austria;  six in France and Germany; five in Switzerland; four in Canada and Norway;  three in Belgium; and number two in Australia, Sweden, and the UK. 

"It's Oh So Quiet" shuffled to number seven in Ireland; and became her biggest hit in Australia and the UK, charting at number six and four, respectively.

"Hyperballad" shot to number eight in the UK and number one on the US dance chart. 

"Army of Me" went to number twenty-one on the US alternative chart and number ten in the UK.

"Possibly Maybe" hit number thirteen in the UK.

"Isobel" peaked at number twenty-three in the UK.

"I Miss You" found its was to number thirty-six in the UK, twenty-nine in Ireland, and number one on the US dance chart.

full album:

00:00 "Army of Me"   (Björk, Graham Massey) Björk, Graham Massey, Nellee Hooper 3:54
03:55 "Hyperballad"   (Björk) Björk, Nellee Hooper 5:21
09:18 "The Modern Things"   (Björk, Graham Massey) Björk, Graham Massey, Nellee Hooper 4:10
13:28 "It's Oh So Quiet"   (Bert Reisfeld, Hans Lang) Björk, Nellee Hooper 3:38
17:10 "Enjoy"   (Björk, Tricky) Björk, Tricky 3:57
21:09 "You've Been Flirting Again"   (Björk) Björk 2:29
23:41 "Isobel"   (Björk, Marius de Vries, Nellee Hooper, Sjón) Björk, Nellee Hooper 5:47
29:29 "Possibly Maybe"  (Björk) Björk, Nellee Hooper 5:06
34:36 "I Miss You"   (Björk, Howie Bernstein) Björk, Howie Bernstein 4:03
38:40 "Cover Me"   (Björk) Björk 2:06
40:50 "Headphones"   (Björk, Tricky) Björk, Tricky 5:40

bonus track
12. "I Go Humble"   (Björk, Mark Bell) Mark Bell 4:44

bonus disc
1. "Sweet Intuition"   (Björk, Ken Downie, Ed Handley, Andy Turner) Björk, The Black Dog 4:43
2. "Venus as a Boy" (Harpsichord version) (Björk) Björk, Guy Sigsworth 2:13
3. "Hyperballad" (Brodsky Quartet version) (Björk) Björk, Nellee Hoper, Brodsky Quartet 4:20
4. "Charlene"   (Björk, Ken Downie, Ed Handley, Andy Turner) Björk, The Black Dog, Marius de Vries 4:44

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