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Icelandic musician, Björk is a remarkable lady indeed. One of the best selling singers in her native country, she's been swooning the world over with her interesting fusions and quirky vocals since 1977. With a title like Debut, one would assume that it was Björk's debut album, but in fact it's her second. Sixteen years prior to the release of Debut, she released an imaginative self titled album at the tender age of eleven. With quadruple the creativity she had when she was a child, Björk released Debut in 1993 on One Little Indian Records and went on to receive a Platinum status.
The album has a wide range of influences ranging from Jazz, Trip Hop, Classical, Industrial, Rock, Folk, Dance, Trance and even Pop music. But overall, her music is described as alternative, experimental and electronic. She's that kind of artist that you can't use one genre to define her in: she's one of a kind. The atmosphere in the music is phenomenal, but the vocals may be too quirky for everyone's taste, but it didn't stop it from selling over 3 million copies.
"There's definitely no logic to human behaviour but yet so irresistible."
We are introduced to a tropical track called Human Behaviour which is a very unusual track as it's sung in an animal's point of view. It's one of my favourite singles from her because I love the imaginative music video to this. I really love the drumming on this track because I think it adds a great oriental tinge along with the subtle guitars and her indescribable raw vocals; it works wonders.
Next comes the catchy synthetic track Crying and the groovy Venus As A Boy. Both have special tranquilities in the album which makes a very unique listening, what makes it even better is her almost flawless production with Nellee Hooper. The mixture of instruments and oriental sounds make the songs rather dreamy.
The upbeat dance track, There's More To Life Than This comes as a total shock, but a great one. I think the party crowd might distract some listeners, but I think it makes the track a lot more accessible and it's not overpowering so I don't mind.
The harp arrangements to Like Someone In Love are beautiful. It sits nicely between the experimental tracks of the album and stands out for being simple and sincere. It reminds me of her first album a lot because the track is a cover and her self titled debut had quite a few gentle covers.
The album also includes two of her classic songs, Big Time Sensuality and Violently Happy both are engaging and guilt free. The 90's vibe gives me some pleasant nostalgia thoughts and I can't believe she managed to fit trumpets in Big Time Sensuality.
"It takes courage to enjoy it." - Big Time Sensuality
The album's finale is rather dramatic with orchestral strings in the feisty track Play Dead, which was composed by David Arnold. The song featured in a film called The Young Americans and originally going to be a single-only release, but was added as an international bonus track at the end, but you get it on the UK version of the album. I always felt there was a James Bond vibe to this film because David Arnold also composed film scores for some of the James Bond movies. The grandness from the music makes me feel like I'm listening to a song from a movie. It's a worthy bonus track in my opinion.
I think it's a fantastic album. It was an immense pleasure listening to this album and would love to listen to this again. I believe that Human Behaviour is my favourite track of the album and the one I like the least would be The Anchor Song, which isn't awful either. I'd strongly recommended this album for anyone who loves grand variety in their music and eccentric genius musicians.
1. Human Behaviour - "There is no map to human behaviour." 5/5
2. Crying- "Only if a ship would sail in or just someone came and knocked at my door or just (or just) something." 5/5
3. Venus As a Boy - "He believes in beauty he's venus as a boy." 5/5
4. There Is More to Life Than This - "Come on girl let's sneak out of this party, it's getting boring." 5/5
5. Like Someone In Love - "Sometimes the things I do astound me, mostly whenever you're around me." 5/5
6. Big Time Sensuality - "The hardcore and the gentle big time sensuality." 5/5
7. One Day - "the atmosphere will get lighter and two suns ready to shine just for you." 5/5
8. Aeroplane - "I'm taking an aeroplane across the world to follow my heart"." 5/5
9. Come to Me - "You know that I love you so don't make me say it it would burst the bubble break the charm." 5/5
10. Violently Happy - "Since I met you this small town hasn't got room for my big feelings." 5/5
11. The Anchor Song - "I live by the ocean, and during the night I dive into it." 3/5
12. Play Dead - "I play dead, it stops the hurting." 5/5
For me this is Bjork's greatest album easily, although some savvy music fans may have been aware of Bjork from her work with the Sugarcubes, this was her debut album and one which is so inventive and sonically interesting that it sounds like nothing else I've ever heard.
The album has a really strong Icelandic influence in its music and some of the strange sounds you hear, it mixes pop, dance, strings and other styles effortlessly.
Produced by Nellee Hooper this is an awesome album that sounds as fresh today as the day it was released, it is a real 5 out of 5 album filled with great songs.
1. Human Behaviour - I love the backing beat to this and then Bjorks voice brings such a massive contrast, it's a weird mix which works perfectly, its harmonious, has awesome choruses and is an epic tune in many senses, it's a really adventurous song but one which is ultimately rewarding. Its like a potted review of humans by an ethereal Icelandic Pixie.
2. Crying - Lovely Lo-Fi beats start this off with xylophonic beats, this is a weird and wonderful song, again Bjorks lyrics are crazy and her voice sounds weirdly alien, the music production is so interesting you can't not enjoy this, the chorus is powerful and melodic, yet this is still one of the weaker songs on the album.
3. Venus As a Boy - Utterly beautiful with its silkily melodic backing sounds, Bjork sounds so beautiful and sensual when she sings, this is a passionate song about love and sex and is utterly beguiling. Bjork has created an amazing song here filled with heartfelt melody and intelligent lyrics.
4. There Is More to Life Than This - I love this song its set in a nightclub toilets as Bjork sings about what she could do to enjoy life more, its cheeky and fun and the music has a real tuneful disco feel to it, this is a lively and fun song filled with good humour.
5. Like Someone In Love - Another beautiful love song, it has harps and gorgeous strings and just feels timeless, elegant and utterly beautiful, its such a lovely contrast to the previous song and is a real classic for me.
6. Big Time Sensuality - One of the best known songs on the album it has incredibly intricate beats and the alien vocals just make it sound ultra-cool, this is still relevant today and while the lyrics are strange they're so interesting, this is a big funky fun song which deserves the plaudits it received at the time.
7. One Day - One of the lesser songs on the album, this starts with baby vocals a weird swirling noise and a nice consistent beat which Bjork almost sings pleadingly over, this is a wicked song in its own right and is incredibly listenable but its still one of the weaker tunes on the album.
8. Aeroplane - Weird mix of saxophones and arabesque music on this one, but it sums up the album for me, its musically fearless and this is a great tune which builds an atmosphere of fear and twisted desire as Bjork sings about not living without someone, its an awesome song with lovely twists, strange backing vocals and interesting lyrics.
9. Come to Me - Nice mysterious music, slow and sensual it builds up with Bjorks vocals building too, this is one of the weakest songs on the album but still very listenable nonetheless.
10. Violently Happy - We all know this song, mad as a box of frogs but so bouncy and such fun, it's a classic of wild happiness, the beats are awesome, Bjork sounds amazing and this is an absolute classic tune filled with heart and heavy beats.
11. The Anchor Song - Sounds like an old fishing shanty and I think its supposed to represent the Icelandic state of mind as a fishing country, Bjork sings in verse with backing saxophones, this is a cool tune in its own right and a massive contrast to song 10.
12. Play Dead - Paranoid and utterly stunning, the beats sound operatic and vital, while Bjork sounds amazing, this has massive backing and is a tune filled with melody, power and atmosphere. I think this is awesome and a brilliant finish to the album, it sounds so good and the album must be nearly 10 years old, a true classic.
Overall I think this album is awesome it still sounds relevant and is filled with classic tunes, the worst songs are really good while the best are stone cold brilliant. There is a great mix of dancey bangers and traditional folky songs and they contrast so well, this album is available on ebay for £1.99 and is so worth it, you can download it on itunes or Amazon too and it truly is a brilliant album, with one of the most innovative female singers ever on top of her game.
Icelandic kooky singer songwrite Bjork has been troubling the music scene since she first appeared with the group Sugarcubes. She swiftly went solo with this appropiately titled album.
On this album:
Check out 'Human Behaviour' as tribal drums signal a battle cry and Bjork coos about the human instinct. 'Venus As A Boy' finds her in a reflective mood, with startling lyrics and a light and delicate melody. She proves she is capable of taking things on a dancier route too, 'Big Time Sensuality' is a belter, Bjork seems to let herself go on this track, as she squeezes every last drop from the notes and rasps over a nineties dance beat. It is one of the more accessible songs on the album.
'Violenty Happy' is another stab at doing a dance track but doesn't come off as well, though the biting lyrics with make you sit up and think.
The haunting 'Play Dead' with David Arnold is atmospheric and will make you hairs stand on end, orchestral and moody, it is a superb track with some amazing strings in it.
Verdict: Bjork's first album is probably her most commercial, she went a bit weird after this, her voice is unique and the material is challenging and exciting, definitely worth buying.
I wonder how many people have Bjork's Debut album but did not go on to purchase anything else from the diminutive volatile Icelander. If you are one such person then I am not alone. There is a lot I liked about the Debut album, one or two tracks are sensational but is it without imperfection? No, definitely no.
Firstly the killer tracks : Human Behaviour is the first of these and the first track on the album. A small amount of criticism is that early in the song the production does not allow the mood to settle for longer before the vocals begin. It s a small point as the track does the develop beautifully with pounding kettle drums and a superb vocal performance. Also on the top of the pile is Venus As A Boy which is very different from Human Behaviour with a string arrangement very much like the Egyptian Ensemble used by Jimmy Page and Robert Plant for the No Quarter album. Like Bjork it is quirky and different.
Come To Me is a beautiful song but there are hints here of what ultimately I find to be the problem with Bjork. Sometimes, just sometimes, a note seems to have been sent too high and sits out of context with the rest of the song. One moment you are listening to a gentle flow and suddenly you are jolted and the mood is lost. Like The Cranberries and to a lesser extent Dido the cracked note can be used effectively but on occasions it gets in the way and spoils the song. On other songs like 'Big Time Sensuality' the discipline it kept better and the song benefits from it. Like many Bjork songs the lyric content is worth hearing without the distractions. Her lyrics have a completely different feel from most other artists, the only comparisons are perhaps with early Marc Bolan, perhaps not a good choice, or possibly a wild hyperactive Kate Bush. Come to think of it though Bjork is just unique.
Violently Happy is one such song, even the title mixes an adverb with an adjective in a context you could never expect. The song is explosive and wild confronting the listener with more emotion, real emotion, than most artists can fit into one album. The feeling that this is a quirky album from an unconventional artist is reinforced by Theres More To Life Than This. It is one risky thing to include a live track but one so obviously taken as a single take with no post-recording production values is another. Bjork manages to pull it off with a track that retains great freshness years on.
Alas some tracks are just overdone. A problem with Bjork is sometimes she does not know the parameter she needs to work in. Her sometimes breathless style which was superb on the later release Its Oh So Quiet is sometimes thrown in, in the unlikeliest places. Her song phrasing and sometimes even her pronunciation are sometimes clumsy as in :-
Theres Definerly, Definerly, Definerly, no logic to human behaviour...
Bjorks breathing and word delivery must have tortured her singing coach. It is just so unconventional and the overall feeling I have that if someone came back and took away some the excesses some very good tracks could become great ones. But that the is the esence of Bjork. Probably without those excesses you would not have an artist so challenging and different.
Of the remaining tracks Play Dead was omitted from earlier copies of the album but was included later. This is a powerful strong track but again too much production, too little discipline in the voice. On One Day and Like Someone In Love you get all the trademark passion. You could imagine that if Bjork ever sang nighttime songs to her child then the poor little mite would never get any sleep. Finally a special word for The Anchor Song which is so different from anything on this album. Sung in a very low plaintive tone and accompanied by a cacophany of seemingly displaced saxophones this is a wonderful track.
As an album Debut was worth the cover price for those tracks which stood out. From a commercial perspective it was successful in establishing Bjork as an international artist. However what followed was the unnecessary publicity in airports and some unwise musical collaborations - a particularly awful duet with Skin was it from Skunk Anansie. (Correct me if I'm wrong) and soon the impetus was lost. But perhaps that was what Bjork wanted, commercial success could lead to expectations of mainstream musical output and you sense that is the last thing Bjork will ever release.
Her new album Vespertine has now been released and sales are being bouyed by a CD produced free with a recent edition of the Sunday Times. First two tracks on this were Venus As A Boy and Human Behaviour, a sensible ploy which should see Vespertine rewarded by stronger sales than Homogenic. As many units moved as Debut though? That might still be difficult.
Bjork is now Iceland's most famous celebrity (sorry Magnus Magnusson, but when did you ever get column inches for hitting a reporter?). 'Debut' was her sensational first album that sold more copies worldwide than all of her previous band's albums put together. The Sugarcubes had had some minor success chart-wise in the UK, with 'Hit' reaching the Top 20, and other songs such as 'Birthday' being widely acclaimed in the indie music press. However, many though that Bjork would be more successful as a solo artist, as so it proved. Debut, reached the UK Top 3 when it was released in 1993 on the 'One Little Indian' label, and spawned 4 UK Top 40 singles. The first of which was 'Human Behaviour', perhaps most memorable for Bjork being run over by a hedgehog in the video. It reached #35, although did expose her more widely into the mainstream. This was followed up by the sublime 'Venus as a Boy', which reached the Top 30. Once again, the video showed off Bjork's distinctive creative streak, and also her child-like vulnerability. The killer track off the album, 'Big Time Sensuality' reached the UK Top 20, a song which made it clear that she could not be pigeonholed. Its black and white video of her dancing on the back of a lorry certainly won her points for innovation. The final track to be released off the album was 'Violently Happy', a faster and darker track than its predecessors. It was the most successful song off 'Debut' in terms of chart positions, but its video, which featured the mutilation of a toy doll, was banned or edited by several programmes. Other tracks off the album include 'There's More To Life Than This'. This track was recorded in the toilets of a nightclub, and includes lyrics such as 'I could nick a boat...'. There is also the folky track 'The Anchor Song', which is about as uncommercial a trac
k as you are ever likely to find on a best-selling album. 'Debut' remains a timeless classic, and although some may say that she is an acquired taste, it is probably going to be the most commercially accessible album that she ever makes. She has since gone on to release 'Post' and 'Homogenic', as well as winning critical acclaim for her part in 'Dancer in the Dark', the first (and according to her, last) acting role that Bjork has done.
If you've never seen her, she is exactly how you would have imagined. Right down to those fake pearl tears on the cover of Debut, Bjork is an enigma in that special way that popstars can get away with. Back in 1993 when Debut was released she was voted babe of the year in NME. Looking at the stunning shots of her on this and the single 'Big Time Sensuality' it's hard not to argue. Recently Bjork starred in the much misunderstood 'Dancer In The Dark', and also produced the haunting soundtrack. Her role was so intense that she almost had a nervous breakdown during filming. Her legendary tantrums almost had the same effect on the crew members! Here is a woman that lives and breaths her art. Paradoxically she craves privacy but when pushed too hard has the capacity to hit back with awesome ferocity. The attack on a journalist at an airport in Thailand is evidence of this. Bjork made her first recording aged 13. She had been a member of the Sugarcubes before she went solo. The Sugarcubes spun off beat dramas that defined an alternative market in the mid-late eighties struggling to find its feet. Bjork's talent was their distinctive selling point though and they may have suffered without her powerful vigour. There is something magical, almost whimsical about Bjork's homeland, Iceland. The people are warm and friendly and incredibly proud of their heritage. The Icelandic landscape is barren in a spectacular type of way and some of its natural features like the volcanic spa's leave an indelible impression. It is against this backdrop that you begin to understand where Bjork and more recently the heavenly Sigur Ros fuel their passion. Debut is infused with a huge dance sensibility. A lot of the tracks have appeared elsewhere in altogether different guises, suitable for packing dancefloors en masse. Most of the time, these reworkings are loyal to their inspiration and dutifully prove how powerful the
original recordings are. The first sign of Bjork's solo output was 'Big Time Sensuality' that came complete with 5 remixes. It has a didgeridoo electronic beat that skips frothily for its duration. Bjork doesn't croon, she just adds suitable splices of cool vocals. 'Violently Happy' creeps up on you like a wayward iceberg and knocks you for six as the delicious white hot beat distils pure alcohol into your shaking torso. Yes it is overwhelming stuff made all the more bearable by the perfect comedown of 'Venus As A Boy'. This song flickers like the comfort of a candle in a dark cave but the warmth of the vocals wrap you in the fur of a fresh bear kill. Just when you think you have a handle on Bjork's vocal range she disappears beyond the horizon. Those put off by the notion of a beat fantastic album shouldn't worry because Debut is much more than this. For every 'Violently Happy' there is at least a couple of seamless vehicles for Bjork's astonishing chords. 'Play Dead' for example boasts a huge orchestral wall of sound and a chorus that wonderfully climbs to the summit of her vocal range. 'There's More To Life Than This' has more than a Moloko ring about it, but then this was released aeons before they had honed their sound. Elsewhere 'Come To Me' contains all the trappings of a fairytale with the requisite plinking dew drops, distant wailing strings and little red riding hood pretensions. It sashes by with enormous clarity, charming is too underwhelming a word to describe it. 'Aeroplane' is beautifully uneven and hints at that 'It's Oh So Quiet' theme that her second album would so successfully adopt. Listen to 'The Anchor Song' and you can imagine village life. As the prayers for returning fisherman are answered the most serene of lives continue happily as the outside world scrambles for a few hundred more worthless sh
ares, squashing the weaker in society underfoot in the process. There is a natural feel to a lot of the album which may be difficult to fathom to someone who hasn't heard it. There is some technology employed but it is never overused. Debut let free on the today's charts would resemble a fresh clear mountain stream running straight through a polluted steel mill. On occasions, like on the rather shallow 'One Day' Bjork drops her quality guard. To recompense the white label take of this song is close to perfection. 'Crying' is another notable disappointment with a vacuous centre, but hey there is a rather noodly last segment that almost saves the day. Don't let these tracks put you off though, they are only poor when viewed against the high standards set by the other tracks on the album. Make no mistake this is a fantastic debut that you should own for its individuality, inner self-belief and consistent wide-eyed arrangements. A tortured genius, a peaceful soul, it's hard to tell. One thing is for sure, Bjork possesses the integrity to come across as very likeable. Her music is spiritual and uplifting, her voice is an unwavering beacon. She is a true star of her own making whose talent will withstand the test of time.
I still remember the first time I saw the video to 'Human Behaviour', the opening track on Bjork's first post-teenage solo album. I just couldn't get over the weird cacophony going on in the background, the very unusual voice, and this weird little pixie running around the place with bears and stuff. So eventually I bought the album. Now, back in these days, I was a teenager, with no job, so I had to save pocket-money for ages and ages before finally getting enough to make the purchase. Consequently, this album got some very heavy rotation before I actually was able to buy another - and therefore, I know it inside out! I really love this album. It was probably the first album I had ever encountered where I liked every song on the album straight away - a rare occurrence nowadays, I can tell you!! Let's dive in, and see what all the fuss is about. 1. HUMAN BEHAVIOUR. Weird music here! Well, at least that's what I thought to begin with. The lyrics aren't really all that important - this song is just fun. What really captivated me though, was Bjork's voice. She has a huge range and her accent (which has softened a bit since) is quite sharp. She really SOUNDS like an ice maiden! A great opener. 2. CRYING. The best thing about this song is the chorus. Not because it's very revealing or anything like that, but simply the way Bjork sings it! She provides the harmony in the backgroun which just completely blows my mind! Especially the ending where the music stops and it's just her doing the harmony bit. The song has dated a bit however, as the beats sound VERY early-nineties. Also, the upbeat nature of the song doesn't suit the mood suggested by the title, or the lyrics. 3. VENUS AS A BOY. This song is an almighty classic. Again, the music is very unusual, particularly the rhythm - which adds to the snesuality of the song. It's gets a little bit naughty at
one stage (the lyrics I mean!!) and as Bjork is want to do, she trails of in Icelandic in a couple of places, which is masterful. It doesn't matter that you don't know what she's singing - it just fits with everything! I remember once singing the song to myself while hanging around with some friends, and when I went through one of the Icelandic bits, I got many strange gazes! 4. THERE'S MORE TO LIFE THAN THIS. This song was recorded live at a niteclub, and part of it is done in the bathroom. The effect is to draw you in as though you're actually there on a night out with herself, and she's just dragging you this way and that with her eternal energy. Again, the beats have dated a little, but it takes nothing from the energy. 5. LIKE SOMEONE IN LOVE. This is a really beautiful song, with just Bjork and a harpist. She puts so much passion into it - it really sounds like she's singing it with someone in mind. The harp sounds wonderous, inter-twining with her melodious gurgling. 6. BIG TIME SENSUALITY. This was a big hit all those years ago, and it's not hard to see why. It's got a good beat, it's happy, it's full of life, it's essentially Bjork. More Icelandic in places, and the immortal line "I don't know my future after this weekend, and I don't want to." If you're feeling down, this song really cheers you up! 7. ONE DAY. This is my favourite song on the album by far. So expertly put together, so beautifully sung. This will also cheer you up - "..two suns, ready to shine just for you". This is Bjork telling you that everything's going to be ok. It has a nice, laid-back tempo, which really soothes and helps you calm down. 8. AEROPLACE. Another unusual song, but passionate nontheless. The rhythms sound tribal, yet familiar with Bjork singing of someone she really misses and wishes was close by (so
mething I can well appreciate.) It's heartbreaking, yet fun also - on great note here, is the sax-jazz interlude that breaks in after every chorus. Fantastic! 9. COME TO ME. This is one of the greatest love-songs ever written, in my mind. It calms me down whenever I'm stressed, like someone looking after me! Bjork hits a few high notes here, but hits them with clarity. Those who think she's 'mad', or 'daft as a brush' are quite mistaken, and this track is the proof of it! 10. VIOLENTLY HAPPY. This is Bjork at her best. Here she's full of energy and wants to just run wild all over the place! This is also a dance-track, but it hasn't dated like some of the others have, and would do well on the club-floors of the moment. The title of the song would serve as a good description of Bjork, most of the time. 11. THE ANCHOR SONG. This song is basically a poem, a lament for the ocean. It sounds as if Bjork is home-sick (she was living in London at the time she started this record) and it's quite heart-breaking to hear. She's accompanied by saxophones that sound out of tune the first time you here it, but you eventually learn to tease out the individual melodies located therein. One of my friends think that this is her best song, and while I don't agree with him, I think it's right up there with the best of them. 12. PLAY DEAD. This is my favourite motion-picture song ever. (well, maybe apart from "Exit Music" by Radiohead) I can't remember what film, but it doesn't really matter, because this song outshone it anyway. With a full orchestra behind her, she makes you feel the pain of a broken relationship. The lyrics are striking :-"I play dead, it's stops the hurting." Magnificent! So in summary, the album shows a Bjork full of youth and energy, but wisened when it comes to emotion. It wasn't technically he
re solo debut, as she released an album in Iceland when she was 11! (worth a fortune to anyone who has it now!) After this, she became far more experimental and art-oriented which is good in it's own right, but nothing beats this one I'm afraid.
This album is amazing. No-one has a voice to touch Bjorks. It is simply stunning. Released in 1993, and produced/engineered mostly by Nellee Hooper, this album was ahead of its time. Featuring the hits 'Venus as a Boy', 'Big Time Sensuality' and 'Human Behavoiur', the album also contains the classic tracks 'Crying', 'One Day', 'Violently Happy' and 'Aeroplane', not to mention the wonderful 'Play Dead', which should have been a Bond theme tune with its sweeping strings and guttaral vox. Wow. I particularly like the opening of the first track, 'Human Behaviour', with is Timpani motif and catchy rhythm. For those not in the know, Ms Gudmundsdottir is Icelandic. If for Icelandic you substitute Outlandish, you'll get some idea of what her first album sounds like. Her voice is pure heaven - at times quiet as a whisper, and gentle, for example in 'Come to Me' and the 'Anchor Song', and at other points raucous and strong for example in 'Play Dead', or just lyrically sublime as in 'Human Behavior' and 'Crying'. The fact that she is most definitely not British does not detract from the songs at all, in fact her bizarre pronunciation adds a quality that is uniquely Bjork. The songs are more pop than rock, but have a musical quality that far surpasses the tat we have in the top 20 at the moment. Completely mad (or maybe she just wants us to think that . . .), and totally devoted to her son (she allegedly once knocked a photographer/reporter's head on the floor in an airport after catching trying to sneak photos of her and her little boy)Bjork is a woman of great musical talent and originality. And if you catch an interview wih her, you will find that through the giggles she comes across as an articulate and intelligent person. Her music deserves a huge audience, and this album comes highly recommended!
I bought this album back in November 1993, and I remember being absolutely breathtaken by Bjork's voice, and generally the way it sounded like nothing i'd ever heard before. In fact, I think I bought the album on the strength of one song, which i'd seen a few times on the 'ITV Chart show' (remember that!?). I think an added insentive was that Bjork herself is not unattractive in the 'Venus as a Boy' video! 7 Years on, the album is just as impressive. I can't say it's an album that's always in the CD player, it's more like one of those albums you get out every few months or so, just to remind yourself how good it is. Since buying Debut, I've also bought the 3 Sugarcubes albums (the band she was in before she went solo, for those not in the know), and have been suitably impressed with all 3. Everyone remembers two songs from 'Debut': Big Time Sensuality and Play Dead. Personally I think the best songs are Human Behaviour and Come to Me, but there isn't one poor song on the album. Even if you don't like Bjork, buy this album, i'm sure it'll be in most bargain bins these days. GO ON, BUY IT!!
Although she had been making albums since her youth back in native Iceland, 'Debut' was the first solo album Bjork had made since leaving 'The Sugarcubes'. Having teamed up with producer Nellee Hooper the result is an album with a range of songs to demonstrate her extraordinary and unique voice. These consist of experimental dance ('Big Time Sensuality', 'There's More To Life Than This', 'Violently Happy') to ballads ( 'Like Someone In Love', 'Come To Me') as well as darker tracks ('Play Dead'). The end result is an impressive collection of songs which serve to magnify the range and dimensions of an artist who bring new light to the music scene. 'Debut' is a stunning and inventive breakthrough album that places Bjork alongside the most-talented female artists around. Stand Out Track: Venus As A Boy
Bjork's debut album, the aptly named Dubut, is supremely unusual. When I first heard some of the tracks from it (specifically Human behavious and Big Time Sensuality) I was taken aback by the general oddness, and gave Bjork a wide berth. Having returned to the album after much listening to later efforts, howevere, I have been suitably impressed. Bjork's music is unique, and Debut shows it at its most underproduced, with her voice being the most significant instrument. If you're new to Bjork, check out Post first - but if you're a fan, this is a great buy.
I recently bought this cd and I have not been able to put it down since. Now I know why people hate bjork or despise them but that doesn't bother me and I happen to love it very much. People hate her because her sound is unlike no other and the way she sings. Her voice is so unique and very cute that you can either just hang out and listen to it or sleep to it and put it on repeat all. Her uniqueness is why she's so great. This is why music lives on.
Well what can you say about this album, if not ORIGINAL! :) well the icelandic beauty can certainly not be accused of copying anyone elses style. i liked this album at first but once the novelty of her voice wore off i found it both annoying and pretentious. The sryle is something that just dosent last fot me. I didnt buy any of her other albums because i would expect more of hte same. If youve never heard bjork consider buying it on tape for cheap, its an experieance
Disc #1 Tracklisting
1 Human Behaviour
3 Venus As A Boy
4 There's More To Life Than This
5 Like Someone In Love
6 Big Time Sensuality
7 One Day
9 Come To Me
10 Violently Happy
11 Anchor Song
12 Play Dead - Bjork & David Arnold
13 Human Behaviour
15 Venus As A Boy
16 There's More To Life Than This
17 Like Someone In Love
18 Big Time Sensuality
19 One Day
21 Come To Me
22 Violently Happy
23 Anchor Song
24 Play Dead - Bjork & David Arnold
25 Human Behaviour
27 Venus As A Boy
28 There's More To Life Than This
29 Like Someone In Love
30 Big Time Sensuality
31 One Day
33 Come To Me
34 Violently Happy
35 Anchor Song
36 Play Dead - Bjork & David Arnold
37 Human Behaviour
38 Venus As A Boy
39 Play Dead
40 Big Time Sensuality
41 Violently Happy