Björk — Post
The most accessible Björk album, but this album is by no means pedestrian. Discovering “Hyperballad” made this album my port of entry into Björk’s discography. Post is without a doubt one of the greatest art-pop albums to ever exist.
Intended as a direct counterpart & inverse of her first album Debut, Post was conceived as the literal album “post” her debut. Björk was looking to release the raw energy she stowed away on her quiet debut. Still adjusting to the move from Iceland to London, Björk categorizes this time in her life as promiscuous, both musically and socially. Björk stated during this time she was no longer an introvert, and this album is a result of knowing you are thriving as an extrovert for the moment. Mid ’90s London was a cultural explosion in experimentation, and Björk was front and center. Electronica, jazz, latin fusion, and industrial are a few of the genres present on this album. Björk wanted Post “as schizophrenic as possible.” Released on June 7th 1995, the album has a staggering 5 producers credited, including Björk herself. The album would peak at #32 on the US charts, and produce 6 singles, 3 of which broke the top 10 in the UK.
This album is brilliant. A good media comparison to make with this album is Quentin Tarantino and Reservoir Dogs. Reservoir Dogs is my favorite movie of his because it is concise, exhibits his strengths, and was novel for the time. Post is similar in this regard, before Björk became too bogged down by pretension, she was able to cut through the noise with her unique sound. Beginning with the empowering track “Army of Me,” Björk demands to be heard in all the right ways. With sinister vocals, and industrial beats blaring, this song plants its flag right out of the gate. The power of this song transitions into the beautiful strings of “Hyperballad.” This song tells the tale of a lover purging herself of dark and strange thoughts to return to her partner as her whole self. This song is composed to perfection. Building beats, serene vocals, strained vocals, string intro and outro, they all mesh together to make an unforgettable musical experience. One of Björk’s more renowned hits “It’s Oh So Quiet” stands out next on Side A, but not in a good way. Recorded last, Björk wanted this song to shock listeners with its jazz orchestral, screams, and frantic pacing. I do not understand how this song has become such a hit, I find it annoying and beyond redemption. The album then fades into “Enjoy,” a welcome improvement. Again, Björk exhibits a variety of genres in this song about the pleasures of sex in her new fast paced world. Side A closes with the quiet orchestral interlude of “You’ve Been Flirting Again,” a short and sweet musing on the nature of flirtation. Side B begins in a forest with the birth of Björk’s self insert, “Isobel.” The song tells the tale of a woman born in the woods, who ventures to the city before returning to nature. One of the grandest songs on the album in sheer scale, this song swells like classical music set to driving pop sensibilities. Björk claims the first sad song she ever wrote comes next: “Possibly Maybe.” This song plays like an electronic funeral dirge, with each beat walking Björk towards the oblivion of solitude. “I Miss You” picks up the beat once again with reggaeton inspired percussion and backing tracks. This song works, and it doesn’t seem like it should. The blend of bongos, tinny electronic noises, and a wailing Björk should not mesh so well, but this song is without a doubt the stand out from Side B. The album ends with an ambient ode to music itself. “Headphones” whispers out Björk’s love of music, while experimenting with studio effects to create a song which comes at you in 3D. If not for the electronica, I would say this song belongs more on Debut, but nonetheless, it is an enjoyable farewell to a masterful album.
Must Listen To: Hyperballad
If you have never heard Björk, or maybe you have and hated it… I urge you to listen to “Hyperballad.” This is the most structured Björk gets in terms of chorus and verse iterations, and her vocals are fairly tame. If you don’t like this song, then you don’t like Björk.
