( 5'03, 2.31 Mo)

Extrait de l'album HOMOGENIC (1997) avec: Vocals: Bjork; Keyboards: Bjork; Violin: Gavin Wright, Wilf Gibson, Peter Oxer, Roger Garland, Jim McLeod, Ben Cruft, Perry Montague-Mason, Vaughan Armon, Mark Berrow; Viola: George Robertson, Peter Lale, Roger Chase, Bill Hawkes; Cello: Martin Loveday, Helen Liebmann, Paul Kegg, John Tunnell; Harp: Helen Tunstall; Harmonica: Alasdair Malloy; Accordian: Yasuhiro Kobayashi; Horn: Jeff Bryant, Mike Thompson; Keyboards: Mark Bell; Programming: Mark Bell; Drum Programming: Mark Bell; Keyboards: Guy Sigsworth; Clavichord: Guy Sigsworth; Organ: Guy Sigsworth; Bass: Chris Laurence, Mike Brittain, Paul Gardham, Paul Pritchard; Timpani: Steve Henderson; Military Snare: Frank Ricotti; Electronic Drums: Trevor Morais; Programming: Markus Dravs; Drum Programming: Markus Dravs; Miscellaneous: Richard Brown, Marius DeVries, Howie B .


" b. Björk Gudmundsdóttir, 21 November 1965, Reykjavik, Iceland. The former Sugarcubes vocalist, armed with a remarkable, keening vocal presence, has crossed over to huge success via her club-orientated material. The success of Debut culminated in awards for Best International Newcomer and Best International Artist at the 1994 BRIT Awards. However, she had made her 'debut' proper as far back as 1977, with an album recorded in her native territory as an 11-year old prodigy (including cover versions of pop standards by the Beatles and others). It was only the start of a prodigious musical legacy. Her next recording outfit was Tappi Takarrass (which apparently translates as 'Cork that bitch's arse'), who recorded two albums between 1981 and 1983. A more high-profile role was afforded via work with KUKL, who introduced her to future Sugarcubes Einar Örn and Siggi. The group's two albums were issued in the UK on the Crass label. Björk returned to Iceland after the Sugarcubes' six-year career, partially to pay off debts, recording a first solo album in 1990 backed by a local be-bop group. She re-emerged in 1993 with Debut and a welter of more house-orientated material, including four hit singles. These chiefly came to prominence in the dance charts (Björk having first dipped a toe in those waters with 808 State on Ex:El ) via their big-name remixers. The most important of these were Underworld and Bassheads ('Human Behaviour'), Black Dog ('Venus As A Boy'), Tim Simenon of Bomb The Bass ('Play Dead', which was also used on the soundtrack to The Young Americans film and featured a distinctive Jah Wobble bass hook) and David Morales, Justin Robertson and Fluke ('Big Time Sensuality'). Björk appeared at the 1993 BRIT Awards duetting with PJ Harvey, while in 1994 she co-wrote the title track to Madonna 's album Bedtime Stories. Released in 1995, Post was an impressive and even more eclectic album, ranging from the hard techno beats of 'Army Of Me' to the shimmering 'Hyperballad'. Now an unwilling media star, Björk made the headlines following her attack on an intrusive reporter, and through her liaison with jungle artist Goldie. Following a desultory remix album, Björk released her third solo set, the self-produced Homogenic. Though she received critical plaudits for her seemingly tireless musical invention, the album was also notable for lyrics revealing a more personal side to the singer, reflecting on her troubled year. "


Album notes:

" HOMOGENIC was nominated for a 1998 Grammy for Best Alternative Music Performance. "Bachelorette was nominated for the 1999 Grammy Award for Best Short Form Music Video. As one of modern music's most enigmatic and consistently entertaining personalities, Bjork has never shied away from the edge. Whether making straight ahead dance music, exploratory modern rock, or even show-tune-caliber drama, her vision has always remained innovative and original. Her voice jumps, in the space of a syllable, from a kitten-like purr to a banshee's howl, and is never anything less than captivating. HOMOGENIC, her latest musical endeavor, finds her plunging headlong into electronica, a form well-suited to her intense, offbeat phrasing and tone. From the skittering breakbeats and ghostly wails of the opening "Hunter" to the all-out electronic crash that is "Pluto," HOMOGENIC explores the melding of human and machine. The drama of "Batchlorette" finds a lush, rich string section following a tripping electronic beat, giving way to the Icelandic wonder's trademark wail. The juxtaposition of thoroughly modern sounds with conventional elements, such as symphonic arrangements, pipe organ, and accordion, form a central theme, to which HOMOGENIC's title undoubtedly refers. On HOMOGENIC, the traditional and the technological find their meeting point in Bjork's soaring, otherworldly voice. "



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