Review Summary: An absolute masterpiece in every sense of the word, Homogenic is a career defining album that is brimming with confidence and authority. A breathtaking achievement.
There’s really no other artist like Bjork. To many, she is seen as a musician who is never afraid to break the boundaries - while not being relatively mainstream in this respect, she is certainly adored by an army of dedicated fans. And deservedly so; the sublime blend of her unique vocal power and ambitious use of electronica has always made her one of the most influential and, indeed, controversial figureheads in the music industry.
It is widely regarded that, as with every album, Bjork will always create something radically different; the critics and fans alike are aware that she will never create an album that is in the same vein as the previous. So after the commercial success of 1995’s breakthrough hit ‘Post’, it only seemed natural of Bjork to create a follow-up that is challenging, sweeping and, quite simply, epic. Indeed, only being the artist’s third album, the public’s expectations were relatively static - with a lot still to prove, Bjork really needed to deliver on this occasion. The result became her masterpiece. The result is ‘Homogenic’.
What strikes the listener initially is how everything, from vocals to production, has been drastically reworked; while Bjork’s trademark electronica sound is still in tact, it’s the album’s pace that marks the biggest difference. From the swooning orchestral sounds to the modernised, new-wave beats, Bjork had comfortably reinvented herself, while keeping all the elements of what made her so likable in the first place. Yes, this is still undoubtedly Bjork, but featured in her most inaccessible, daring and challenging piece of work to date - this is a far more serious record that Debut and Post had ever been.
The album’s opening track ‘Hunter’ embarks the impact of her new sound with unadulterated confidence and style - the icy resonance of synth work that fades in at the start assures the listener that this time, she’s damn serious. What is most noticeable is how densely layered the song is - with the soft, swooning ‘ooh’s in the background, complimented with some dark and eerily simplistic bass work, it certainly creates some level of context for the listener. The melodies are absolutely sublime throughout the song as well, and while they may seem a little erratic and disjointed on its first listen, it can only be argued that they are actually just fantastically creative and totally ingenious. The lyrics are also a little darker (and still weirdly obscure), with the hard hitting line ‘how Scandinavian of me’ which suggests Bjork becoming victim to her own self parody.
This new found theme and style is continued throughout the rest of the album, with enough innovation to utterly enthral and absorb the listener. Hit single ‘Joga’ is Bjork swallowed deep into a gorgeous and breathtakingly epic sonic landscape which reflects the great scale of the Icelandic mountains. It is, indeed, greatly ambitious, but Bjork manages to flawlessly achieve sound through image and concept unlike any other artist before. Linkin Park’s Meteora? Oh please.
Following a similar trend, ‘Bachelorette’ is equally as breathtaking, with an emotionally sweeping orchestral score that is powerful enough to send a shiver down any listener’s spine. And while it is certainly fresh and textured enough to warrant multiple listens, it is when the album hits its mid-way point that Bjork’s experimental side becomes rather noticeable. ‘All Neon Like’ is another example of image in context with sound, with an icy ambience and a swing infused techno beat carrying the entire song - its cold, somewhat sparse atmosphere creates a level of intimacy only rivalled by very few artists. Bjork’s vocal performance is simply awe-inspiring throughout the song’s duration; her dynamics have vastly developed since the last two albums, with the powerful ‘luminous beam’ line suggesting this furthermore.
‘Alarm Call’ is another song where Bjork’s vocals are simply brimming with ideas - there are so many melodies and alternations hidden within that it actually requires multiple listens in order to find all of them; the fact that the entire album features this level of depth truly shows how much thought and effort has been invested into the record, which is greatly admirable. The song is definitely the most pop-driven, with its upbeat, 80’s esque tempo creating it to be one of Bjork’s catchiest and most accessible tracks to date. It is still, however, in context with the album’s style that adds an interesting level of diversity.
And by the time it enters the album’s stunning closer ‘All Is Full Of Love’, it is already noted that ‘Homogenic’ is a very rare album indeed. Very few artists match Bjork’s eccentricity, precision and raw talent - its third album in and she crafts, undoubtedly, the album of her career. Very few albums are considered as ‘perfect’, yet this is certainly deemed as one of them. Very few voices can render the face of the music world, but this is quite simply one of them. A pioneer of sheer innovation, Bjork just excels in every aspect possible; the sound of Homogenic is the sound of an artist at her peak.
Considering all the above, it’s safe to say there’s really no other artist like Bjork. A masterpiece in every sense of the word.
Download:
Hunter
Joga
All Neon Like
Alarm Call
All Is Full Of Love
