Post – Björk

“You’re only given a little spark of madness. You mustn’t lose it.”
– Robin Williams

Of the dozen albums I’ve reviewed so far, Post by Björk has been the biggest and most pleasant surprise. If you are at all familiar with Icelandic-based Björk’s work, you know that her music is anything but traditional and this album is no exception. Before listening to this record, I had only heard one or two songs from her more recent efforts. So, armed with that sonic knowledge, as well as the awareness of her infamous swan dress from the Oscars (see below), I pressed play and let the eclectic tsunami wash over me.

I was impressed by the sheer range of music on this album. From the deep electronic of the opening track “Army of Me” (complete with a drum sample from Led Zeppelin’s “When the Levee Breaks”), to the big band swing of what may be my favorite cut, “It’s Oh So Quiet,” Post positively resonates with experimentation – experiments that nearly always succeed flawlessly. Each track deserves a second listen, in which one finds themselves discovering new facets of the music that seem as though they didn’t exist before, unfolding like a blooming flower. Perhaps it’s this organic quality that provides Björk with her staying power.

There are two major roadblocks to Björk fandom in my opinion. The first is her pronunciation of English…or lack thereof. I found that listening to her is like reading Shakespeare: at first, it’s very difficult to understand because it’s unlike what you’re used to, but the longer you stick with it, the more intelligible it becomes. Once this disconnect is overcome, one finds that the lyrical content is actually pretty satisfying. The poetry of “Possibly Maybe” is staggering.

“[Her lyrics are] sometimes simple, sometimes obscure, but always deeply affecting in their insight and openness. Björk isn’t wasting a second of her needle time.” (Laura Lee Davies)

The second roadblock are the eccentricities of Björk’s actual vocals. She will be in one range of notes one second, and then a completely different sonic stratosphere the next. However, unlike the cat-like wails of Yoko Ono, Björk never lets her tonal excitement dominate the overall musicality of the track. Rather, it’s typically used as a tool – sometimes to jar the listener, sometimes to emphasize an emotional point and sometimes because, well frankly…it’s Björk. But, just like the production and spontaneity of the instrumentation of Post, these left-field vocals are what convince me that above all, Björk is having a rollicking good time when she performs. Nothing is contrived or edited down for better mass consumption.  She knows what she wants to get across and that is what she records – wholly, sincerely and unapologetically.

I opened with a quote about madness. I can’t help but think that Björk has capitalized on her spark, kindling it into a veritable inferno in which she galvanizes herself into a courier for her innermost workings. And those workings are quite a thing to behold.

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Released: June 13th, 1995

For project details and to suggest your own favorite album, visit the intro page.