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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
.
Biographie:
" 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. "
(source http://music.yahoo.com/)
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. "
(source http://music.yahoo.com/)
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