Sigur Rós "Átta" (2023)

Átta

release date: Jun. 23, 2023

format: 2 lp vinyl (gatefold - 45 rpm) / digital (10 x File, FLAC)

[album rate: 4 / 5] [3,88]

producer: Sigur Rós, Paul Corley

label: Von Dur / Krúnk - nationality: Iceland

Track highlights: 1. "Glóð" - 2. "Blóðberg" - 3. "Skel" - 4. "Klettur" - 7. "Gold" - 10. "Átta"

8th studio album by Sigur Rós following a whole decade after Kveikur. Since then, the band has released the remix album Route One, the 'endless mixtape' Liminal, Limnial 2, and the soundtrack Odin's Raven Magic (Dec. 2020). In early '22 the band announced that Kjartan Sveinsson had rejoined the band - he had left in early 2012 - again, making it a trio of Jónsi, Hólm and Sveinsson, but still no replacement for drummer Orri Dýrason, the band has made the new album with little focus on drums and percussion. Former touring member (2012-13) Ólafur Ólafsson is credited as additional personnel playing percussion on an album, which also counts London Contemporary Orchestra and several horn instrumentalists. The album is produced by the band and with American sound artist Paul Corley, who was installed as music director for Sigur Rós in 2016.

The album both reinstates former virtues of harmony-driven melodies with especially Jónsi delivering his characteristic singing style but it also appears as a new version combining a quiet ambient sound of keyboards and synths in unison with the addition of strings and horns. It's almost made completely without traces of drums, bass or guitars, but with a compositional 'progressive' ingredient, the songs echo former album moments of sheer beauty.

At first, the album may appear as closed and very etheral, but it contains more when given the attention it deserves. It's not necessarily among the band's most audience-friendly experiences - it may denote introspectiveness and fragility but it comes with 'hidden' layers to unfold, and I really enjoy the musical journey it invites us on. With Átta, Sigur Rós is definitely back on full sails.

Highly recommended.

[ Pitchfork 7,2 / 10, 👍NME, Clash, Exclaim! 4 / 5 stars ]

2023 Favourite releases: 1. Anohni and the Johnsons My Back Was a Bridge for You to Cross - 2. Ukendt Kunstner Dansktop - 3. Sigur Rós Átta

Sigur Rós "Odin's Raven Magic" (2020)

Odin's Raven Magic (soundtrack)

release date: Dec. 4, 2020

format: digital (8 x File, FLAC)

[album rate: 3,5 / 5] [3,72]

producer: Sigur Rós [?]

label: Krúnk - nationality: Iceland

Track highlights: 2. "Alföður orkar" - 3. "Dvergmál" - 4. "Stendur æva" - 5. "Áss hinn hvíti" - 7. "Spár eða spakmál" - 8. "Dagrenning"

Soundtrack album, or so it has been described by the band on its bandcamp site. The music here is actually "an orchestral collaboration between Sigur Rós, Hilmar Örn Hilmarsson, Steindór Andersen and Maria Huld Markan Sigfúsdóttir which premiered 18 years ago at the Barbican Centre in London [...]" [written in 2020] - it premiered at the Barbican Centre in London, Apr. 21, 2002, which means the band had not yet released its third studio album as the collaboration falls between the second, Ágætus byrjun (Jun. 1999) and [ ] ('the brackets album') (Oct. 2002).

In hindsight, 'cause I didn't know about it until it was released in 2020, it's remarkable album. Near majestic. I understand the term soundtrack, although it's 'only' the music to an ancient Icelandic poem without a visual side to it. It's orchestrated, but nevertheless it also feels like a post-rock, or experimental transgressing piece of art. It's neo-classical and experimental rock - but it works unlike many other such attempts of a fusion between classical music and music from the pop culture.

Odin's Raven Magic is simply a truly wonderful album.

All tracks are credited Jón Þór Birgisson, Georg Hólm, Orri Páll Dýrason, Kjartan Sveinsson, Steindór Andersen, Hilmar Örn Hilmarsson and María Huld Markan Sigfúsdóttir.

Gróa "Gróa" (2018)

Gróa [debut]

release date: Apr. 26, 2018

format: digital (7 x File, FLAC)

[album rate: 3,5 / 5] [3,58]

producer: ?

label: Post-dreifing - nationality: Iceland

Track highlights: 1. "Prakkari" - 2. "Downward Dog" (live) - 3. "Ocean Is Amber" - 4. "EoEo" (live) - 7. "Lokadans (Onofos)"

Studio album debut by Icelandic three-piece Gróa comes with an album title stylised in capital letters. The name of the band is taken from Norse mythology and the völva, and goddess of knowledge named Gróa. The trio consists of the two Maríudóttir sisters: drummer Hrafnhildur Einars Maríudóttir (aka Hrabba) and younger sister Karólína Einars Maríudóttir (aka Karó) on guitar and lead vocals teamed up with bassist Fríða Björg Pétursdóttir.

The trio plays an experimental type of art punk, which here appears inspired by punk rock, post-punk, and noise rock, but it's also tempting to list Björk, The Sugarcubes, and Kukl as natural inspiration sources, although, there's also an original tone burried in these quite diverse compositions. This album of seven tracks [sold on bandcamp] with a total running time of just over 23 minutes is a fine and refreshing short take on established styles, and it will be exciting to follow the trio in a near future, as they manage to come out with something to offer other than the ordinary, which succeeds both in terms of melody and as an alternative to mainstream music.

Recommended.

Björk "Utopia" (2017)

Utopia

release date: Nov. 24, 2017

format: digital (14 x File, FLAC)

[album rate: 3,5 / 5] [3,73]

producer: Björk, Arca

label: One Little Indian - nationality: Iceland

Track highlights: 1. "Arisen My Senses" - 2. "Blissing Me" - 3. "The Gate" - 4. "Utopia" - 7. "Courtship" (live Later) - 9. "Sue Me" - 13 "Saint"

9th studio album by Björk following almost three full years after Vulnicura (Jan. 2015). As was the case for the predecessor, Björk has teamed up with Venezuelan artist Arca - only this time Arca appears to have been granted a more dominating role, partly as co-composer on five compositions (tracks #1, #3, #9, #11, and #14) but also by being credited electronics, synth melodies and beats, while no one else is credited programming, electronics, or 'beats', which were roles Björk almost alone stood for on her 2015 album. Aside from being songwriter and composer on all tracks, and apart for lead vocal, she is (only) credited for playing digital flute - which appears as a minor role as 13 others are credited exactly that instrument - and for arrangements of vocals, flute, choir, and cello, thus placing her more in the role as a musical arranger leaving programming and 'beats' in the hands of Arca. The album is a quite lengthy one with 14 tracks and a total running time going beyond 71 minutes.

Utopia was met by critical acclaim with Spin setting it as number #29 on its list of the 50 best albums of 2017, Pitchfork ranged it number #20 on its year-end-list also counting the 50 best albums, and Slant put it at number #11 of the 25 best albums of the year.

Despite leaving much responsibilty in the hands of Arca, the album still reeks 'Björk' above anything else. There's no questioning that she's in complete control. And as a result, I think it has turned out as her most delightful studio effort since the great Vespertine (2001).

Highly recommended.

[ allmusic.com, NME, Q Magazine, Rolling Stone 4 / 5, Pitchfork 8,4 / 10, The Guardian 3 / 5 stars ]

Björk "Vulnicura" (2015)

Vulnicura
release date: Jan. 20, 2015
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Björk, Arca
label: One Little Indian - nationality: Iceland

Track highlights: 1. "Stonemilker" - 2. "Lionsong" - 4. "Black Lake" - 5. "Family" - 7. "Atom Dance" (feat. Anohni) - 8. "Mouth Mantra" - 9. "Quicksand"

8th studio album by Björk is co-produced by Venezuelan electronic producer / musician Arca [aka Alejandro Ghersi]. Stylistically, a Björk studio album is always within an art pop universe, and here she attributes that with chamber, ambient pop and electronic. It's not far from what she has released before - perhaps the biggest change is the distance to her most recent album Biophilia (Oct. 2011), although, they share the common theme of nature. In many ways this is closer to a mix of her three consecutive albums around the new millennium: Homogenic (1997), Vespertine (2001), Medúlla (2004), and frankly, Vulnicura sounds much like the outcome of a combo of all three albums.
Without containing obvious hits, I think the result is her most interesting album in more than 14 years. An alternative title could have been 'Homogeneous', 'cause that's also what it is.
[ allmusic.com 4,5 / 5, Rolling Stone, The Guardian, NME, Spin 4 / 5 stars ]
=> Needledrop review

Björk "Biophilia" (2011)

Biophilia
release date: Oct. 7, 2011
format: cd (Deluxe)
[album rate: 3 / 5] [2,98]
producer: Björk
label: Polydor Records - nationality: Iceland

Track highlight: 3. "Crystalline" - 4. "Cosmogony"

7th studio album by Björk who is also credited as producer. Only one track is co-produced by the electronic duo 16bit (track #3), and for the first time around Björk is credited for a vast number of (electronic) instruments and as head of arrangements and the mixing process. The album follows more than four years after Volta (2007) and the album was launched as an "iPad-album", which meant that consumers were able to download the album in a 'Biophilia mother app' with all tracks as individual apps including both sound and vision.
With Biophilia, Björk once again takes decisive choices of sonic texture, which in this case takes her into ambient pop territory with several compositions held in a cappella mood and some with a clear presence of chamber pop and glitch pop - ultimately, making it her so far most experimental studio release.
As usual - one might add - the album was met by critical acclaim and several prize nominations. No hit singles was released with the album, although, it spawned four single releases (tracks #3, #4, #7, and #1). Only "Crystalline" and "Cosmogony" entered the Icelandic singles charts as number #12 and #23 respectively, and no other entries are registered around the world. The album peaked at number #4 in Iceland and in France, as number #9 in Switzerland, but apart from these top-10 entries the album was not a commercial success - basically making it her so far poorest selling studio album; however, music critics seemed to love it.
The album is a highly conceptual one, and may be regarded as Björk's take on environmental issues. After her 2007 album, she had fulfilled her contractual obligations and was in a position of artistic freedom, and free to produce whatever she felt like doing, and this together with her engagement with 'mother nature' as well as a deep financial crisis in all of Iceland gave her the idea to work on this project. You will also notice that she doesn't challenge her voice as on former releases - instead she sings steadily and softly on many of the tracks (some have been recorded earlier), presumably the result of having gone through surgery on her vocal cords. Thus, the album touches on progressive ambient. It's an album rich on sensations and it requires fully attention of the listener, as it also contains interesting details and ideas.
I never enjoyed this much, though, and I basically find it among her least favourable albums - with form over matter as a general complaint, although, one could argue that it may be viewed as a near modern classical work of art, and the idea of the project with music, video and a vision of 'biophilia' represented in all we touch and connect to is anything but mere pretentiousness. However, and knowing that it's a media transgressing release, I focus on the music aspect of the album, and I simply consider Biophilia her least interesting studio album. There you have it!
Not recommended.
[ allmusic.com, The Guardian, Rolling Stone, PopMatters 4 / 5, NME 4,5 / 5 stars ]

Sigur Rós "Route One" (2017)

Route One

release date: Dec. 2017 (re-released Apr. 27, 2018)

format: digital (8 x File, FLAC)

[album rate: 3 / 5] [3,12]

producer: Sigur Rós

label: self-released - nationality: Iceland

Remix album by Sigur Rós, or at least a special type of remix album. The band broadcast their more than 1300K road trip around Iceland's ring road in the Summer of 2016 live on YouTube, while using software to make continous remixes of one original composition - "Óveður". Eight of these were then selected for this remix album.

I find the project fascinating, especially as a full audio-visual experience but as is often the case with soundtracks, the audio part alone may suffer from the missing dimension, and that's what I find is at stake with Route One. The compositions are not only instrumentals but they're also held in a mostly ambient style, which makes the end result quite coherent but also challenging as a full listen from start to finish.

One of the band's lesser releases.
In May 2018, Route One was followed by the project Liminal, which was an attempt to make an 'endless mixtape' they would add new pieces to over time, and in Sep. 2018 the band made an announcement that drummer Orri Dýrason had left the band - practically leaving the band reduced to a duo of Jónsi and Georg Hólm.

Björk "Volta" (2007)

Volta
release date: May 7, 2007
format: cd
[album rate: 3 / 5] [3,04]
producer: Björk
label: One Little Indian - nationality: Iceland

Track highlights: 1. "Earth Intruders" (feat. Konono Nº1) - 2. "Wanderlust" - 3. "The Dull Flame of Desire" - 4. "Innocence" - 11. "I See Who You Are"

6th studio album by Björk is a primarily self-produced album with various others producing and co-producing single tracks. Here, it's Timbaland and Danja (tracks #1 and ¤4 - with Timbaland also co-pro. track #8), Mark Bell (track #9) and Damian Taylor (track #6).
Volta signals a return to a more melodic mainstream pop universe with more traditional electronic instrumentation and with compositions based on drum and bass in a dance pop sphere. It feature several guest musicians including Congolese music project Konono Nº1 and Toumani Diabaté, Antony Hegarty (Antony & The Johnsons) feature on two tracks, Min Xiao-Fen (also on two tracks), Mark Bell, and Sjón.
"Earth Intruders" is the only great track on an album, which is a bit of... everything and nothing, really. Generally, I find the somewhat disappointing predecessor Medúlla (2004) slightly more interesting, although that fails on other parameters. Volta is certainly more pop-minded - at least more danceable, but it's basically also easier forgettable.
This is not one of her better album - in fact it's her so far least favourable.
Not recommended.
[ allmusic.com, The Guardian, NME 4 / 5, Rolling Stone 3,5 / 5 ]

Björk "Medúlla" (2004)

Medúlla
release date: Aug. 30, 2004
format: cd
[album rate: 3 / 5] [3,12]
producer: Björk
label: Elektra - nationality: Iceland

Track highlights: 1. "Pleasure Is All Mine" - 4. "Vökuró" - 6. "Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)" - 8. "Desired Constellation" - 9. "Oceania" - 14. "Triumph of a Heart"

5th studio album by Björk is a primarily self-produced album - Mark Bell is co-producer on tracks #3, #7, and #9. The album was originally released by One Little Indian (by Elektra in North America). Although, a new studio album by Björk always means a new sound texture, this is quite unusual for her as it's almost entirely made up of a cappella compositions and by large choirs - The Icelandic Choir on six tracks and The London Choir on track #9. It also feature several guest artists including Inuit throat singer Tagaq (tracks #1, #6, #11, and #12), vocalist Mike Patton of Faith No More (tracks #1 and #3), and Robert Wyatt (tracks #7 and #9)
The album generally received positive reviews and brought her critical acclaim as well as several prize nominations, however, I have never enjoyed this particular album that much. Yes, it contains a number of fine songs but no really truly memorable ones, and as a whole, I think the more experimental compositions dominate an album, I mostly think of as slightly - I dare say 'boring', simply, by being a mere formative release, which again makes me ponder on the word 'pretentious'. It's like one long voice experiment playing with tribal and throat singing, which in the end becomes less inspiring.
I consider this her first in a series of three consecutive and formative albums without strong appealing traits. So why don't I rate it lower? Well, first of all, it's still clearly above mediocre (2,5 on my scale), and then Björk is an artist who dare experiment and most of the time she actually succeeds in making ground-braking new music because she's an artist who dares taking the big leaps. Here, she may likely satisfy critics and fans by doing the near 'impossible' - she expands the borders of popular music but it also takes a lot of willed attention to digest. She is up front when it comes to rethinking popular music, and this time, she's just off target from my perspective, although, she's still producing new music instead of just replicating formulas, and that takes courage. Björk is in that regard like Zappa - someone who is recognised as a great composer and an important personality when it comes to rethinking modern music.
Not really recommended.
[ allmusic.com, Mojo 4 / 5, Rolling Stone 3,5 / 5, Q Magazine 3 / 5 stars ]

Ásgeir Trausti "Dýrð í dauðaþögn" (2012)

Dýrð í dauðaþögn
release date: Sep. 11, 2012
format: cd
[album rate: 3,5 / 5] [3,56]
producer: Guðmundur Kristinn Jónsson
label: One Little Indian - nationality: Iceland

Track highlights: 1. "Hærra" - 2. "Dýrð í dauðaþögn" - 4. "Leyndarmál" - 6. "Nýfallið regn" - 7. "Heimförin" (live version) - 8. "Að grafa sig í fönn"

Studio debut album by Icelandic Ásgeir Trausti is somewhere in the quiet region of dreampop, and it's easy to mention related artists like Emilíana Torrini, Jónsi, and múm, but that's also too narrow-minded, and one might just as well include Sigur Rós and Björk as musical familiarities - fact is Trausti makes his own blend and only his high-pitched singing voice and the Icelandic language guides the listener to the island of Iceland. Stylistically, it's in the genre of folk, and really: in the style of folktronica and singer / songwriter making American Bon Iver a closer musical stylist than any of the aforementioned.

The album won in four categories at the Icelandic Music Awards in 2012 including the Album of the Year prize, and it became the best-selling album debut in Iceland overtaking popular albums from Björk and Sigur Rós. A translated English-spoken version "In the Silence" was released in 2013 but this is the original album, and I do really enjoy it and also prefer this over Bon Iver.

Although, the quiet melancholy, which flows on the majority of the compositions, I really like it when there's a contrast with energetic outbursts like on "Nýfallið regn"; however, Dýrð í dauðaþögn is a fine and recommended album.

Best of 2001:Björk "Vespertine" (2001)

Vespertine
release date: Aug. 27, 2001
format: cd (2008 remaster)
[album rate: 4,5 / 5] [4,32]
producer: Björk
label: Polydor Records - nationality: Iceland

Track highlights: 1. "Hidden Place" (4 / 5) - 2. "Cocoon" - 3. "It's Not Up to You" (5 / 5) (live) - 4. "Undo" (live) - 5. "Pagan Poetry" - 7. "Aurora" (4 / 5) - 10. "Heirloom" - 12. "Unison" (4,5 / 5)

4th studio album by Björk following four years after Homogenic (Aug. 1997) is primarily produced by Björk and is originally released by One Little Indian. Before this she released the soundtrack album Selmasongs (2000), an album with (reworked) songs from the musical film "Dancer in the Dark" starring Björk and directed by Lars von Trier.
Vespertine marks a new change of style with the addition of ambient and glitch pop. A move from trip hop towards glitch pop may not be the biggest imaginable leap, but with the album, Björk introduces a completely different sound compared to any of her previous releases. It's an album with much less focus on electronic beats and a bolder organic sound filled with strings and vocal harmonies.
I've always enjoyed this album and think of it as possibly her biggest accomplishment.
Vespertine is the second album by Björk to be enlisted in "1001 Albums You Must Hear Before You Die".
Highly recommended.
[ allmusic.com 4,5 / 5, NME, Rolling Stone, Q Magazine, The Guardian 4 / 5 stars ]

2001 Favourite releases: 1. Björk Vespertine - 2. Nathalie Merchant Motherland - 3. Rammstein Mutter

Björk "Homogenic" (1997)

Homogenic
release date: Sep. 22, 1997
format: cd
[album rate: 3,5 / 5] [3,76]
producer: Björk and Mark Bell
label: Mother Records - nationality: Iceland

Track highlights: 1. "Hunter" - 2. "Jóga" (4,5 / 5) - 3. "Unravel" - 4. "Bachelorette" (live on Later) - 5. "All Neon Like" (4,5 / 5) - 6. "5 Years" - 10. "All Is Full of Love"

3rd studio album by Björk org. rel. by One Little Indian in the UK and Mother Records in the EU marks a change of style towards a more introvert an darker electronic sound, which is both simpler, in some places more orchestrated and yet more homogenic, which it really is.
I didn't acquire the album at the time of the release. In fact, I didn't until after 2010. In the late 90s I had tired of Björks singing voice - all her grunts, high-pitched sounds, her... vocal, and her sonic universe in general. In many years to follow I rated this album less than mediocre, which I sort of regret, as it's truly refreshing, daring and in many places truly beautiful. The album contains two absolutely great compositions by Björk on which she demonstrates her vocal range and sonic strengths.
Five singles were released from the album, tracks #2, #4, #1, #8 and #10, in that order. "Jóga" was the only to precede the album release, and it performed the best in Iceland where it topped the charts, just as the album did (as her second consecutive in her homeland), but it didn't go anywhere near top 10 in most other countries. "Bachelorette" was the biggest international single release from the album peaking at number #17 in France and at number #21 on the UK singles chart list. "All Is Full of Love" wasn't released as a single until Jun. '99, and it was presented with her most expensive music video so far. The album fared quite well peaking at number #2 in France, number #4 in the UK as well as making it to top 10 in a number of countries. It also peaked at number #28 on the Billboard 200 in the US making it her so far best-charting album here.
Recommended.
[ allmusic.com 5 / 5, NME, Spin 4,5 / 5, Rolling Stone, The Guardian 4 / 5 stars ]

Björk "Jóga" (1997) (single)

Jóga, cd single
release date: Sep. 15, 1997
format: cd
[single rate: 3,5 / 5] [3,66]
producer: Björk, Mark Bell
label: Mother Records - nationality: Iceland

Tracklist: 1. "Jóga (Howie B Main Mix)" - 2. "Sod Off" - 3. "Immature (Björk's Version)" - 4. "So Broken"

Single cd release from the forthcoming album Homogenic originally released by One Little Indian. Yes, "Jóga" is a strong and fine composition, and here it's in a slightly altered version, and with the 3 extra tracks (which are found on the Japanese album version of the album) it doesn't really contribute with anything new.

Björk "Post" (1995)

Post
release date: Jun. 15, 1995
format: cd
[album rate: 4 / 5] [3,94]
producer: Björk and Nellee Hooper
label: Mother Records - nationality: Iceland

Track highlights: 1. "Army of Me" - 2. "Hyper-Ballad" - 4. "It's Oh So Quiet" - 5. "Enjoy" - 7. "Isobel" - 8. "Possibly Maybe" - 9. "I Miss You"

2nd studio album by Björk. All tracks are produced by Björk, 7 tracks with Nellee Hooper, two with Graham Massey, two with Tricky and one with Howie B.
Stylistically, it's the natural follow-up to Debut with a slightly stronger trip hop element; however, it's still a huge blend of styles centered around electronic styles.
The album feature two of her best-fairing singles ever: "Army of Me" became her first top-10 single in the UK, but was later overtaken by "Hyper-Ballad" reaching #8 and "It's Oh so Quiet" - her highest ranked single ever at #4 on the UK single charts. The album is her best-selling album to date, and it reached #2 on the UK, the Australian and The Swedish albums chart lists.
Shortly after the release I found it slightly bettering her 93 album, and in terms of representing over-the-top production methods and embedded styles, it really is a glorious release. In retrospect, I find it - not as much a faded album, but perhaps compared to her strong debut, it does recycle many of its ideas, and is in that way the result of a strong matrix. Having said that, this is still one of her best albums and as such highly recommended.
[ allmusic.com 4,5 / 5, Rolling Stone, Q Magazine, The Guardian, Spin 4 / 5 stars ]

Björk "Big Time Sensuality" (1993) (single)

Big Time Sensuality, cd single
release date: Nov. 22, 1993
format: cd
[single rate: 3,5 / 5] [3,62]
producer: Nellee Hooper
label: Mother Records - nationality: Iceland

Tracklist: 1. "Big Time Sensuality" - 2. "Sídasta ég" - 3. "Glóra" - 4. "Come to Me - Black Dog Productions"

Single release taken from the album Debut and originally released by One Little Indian.

Sigur Rós "Kveikur" (2013)

Kveikur
release date: Jun. 14, 2013
format: cd
[album rate: 3,5 / 5] [3,46]
producer: Sigur Rós
label: XL Recordings - nationality: Iceland

Track highlights: 1. "Brennisteinn" - 3. "Ísjaki" (4 / 5) - 5. "Stormur" - 6. "Kveikur" - 7. "Rafstraumur" - 8. "Bláþráður"

7th studio album by Sigur Rós follows only one year after Valtari and is released on XL Recordings and produced by the band assisted by former member Kjartan Sveinsson and Alex Somers.

Almost as usual with Sigur Rós, they enjoy stylistic changes. This time it might be the result of a change in the usual line-up due to the reduction from a quartet to a trio, as Kjartan Sveinsson (keyboards, guitar, vocals, since 1998) left the band in early 2012, and on this, he only contributes as technical personnel.

The album marks a stronger return to a more traditional shape of post-rock in respect to what we heard on the predecessor, and this time they combine with an industrial touch that I haven't heard them play with before. At some point it resembles the music of Mogwai more than ever (listen e.g. to Come on Die Young, 1999, and Hardcore Will Never Die, But You Will, 2011), although, Sigur Rós is still more ambient, ethereal, and dream pop-founded, which ain't necessarily bad. In a sense it's also a return to their first more experimental releases only without the art rock connection.

Compared to Valtari, I'm not entirely convinced this is an improvement but as I've come to experience with this band, you need to give it time to unfold.

[ allmusic.com, NME 4 / 5, Rolling Stone 3,5 / 5 stars ]

Björk "Debut" (1993)

Debut [debut]
release date: Jul. 13, 1993
format: cd (519715-2)
[album rate: 4,5 / 5] [4,28]
producer: Nellee Hooper
label: Mother Records / One Little Indian - nationality: Iceland

Track highlights: 1. "Human Behaviour" - 2. "Crying" - 3. "Venus as a Boy" (4,5 / 5) - 5. "Like Someone in Love" - 6. "Big Time Sensuality" - 9. "Come to Me" - 10. "Violently Happy"

Studio solo debut after leaving the successful indie pop band The Sugarcubes - actually, it's not her actual debut as solo artists since she released her first cover-songs album in her Christian name at the age of 12 in 1977; however, with the title Debut, she initiates her (artistic) adult music career pointing to the fact that her childhood debut should not have critics search for comparisons some 18 years down the line. This is her actual debut as Björk. This is the first issue of the album that consisted of 11 tracks, but already as of Nov. '93, the label reissued the album with 12 tracks and the addition of "Play Dead" on cd issues - later vinyl issues contain the original 11 tracks.
The loss of The Sugarcubes wasn't positively welcomed as they had been a nice blow of fresh air to the music industry, so a solo album by Björk at this point was like a secondary option.
Musically and instrumentally, she wasn't renowned for her musical capabilities, as her main instrument in her former band had been her voice. Therefore, the album almost came as a bit of a shock to everyone - including fans of Sugarcubes. Her vocal remains the same, but the music was brand new. It's literally one of the rare occasions where everything turned out just right. Stylistically, it's a difficult task to pin out - even today, as it represents a huge blend of influences and styles. Yes, it's art pop, and perhaps one should just refer to it as that leaving out the electronic, alt. dance, dance-pop, electropop, trip hop, and house elements, which by no means are just filler styles.
That year the album was aired everywhere. Not just on local and national radio stations, in record stores, not just bars and cafés - the album would be heard in restaurants, in clothes boutiques, shoe shops, and at sports retailers, in airports - you name it. It was like the soundtrack of the year, and it was naturally nominated dozens of prizes all over Europe. Across the Atlantic critics were a bit more controlled, and Rolling Stone even called the album 'a disappointment'; however, the general and wide-spread reception was more than just a thumbs up.
I played the album again and again and truly found it one of the absolute best releases of '93, but I also tired of the sound - not as much the music qualities but the sound of Björk, in general. Anyway, the album is a 'must-have' in any collection of popular music, and it's a quite natural inclusion in "1001 Albums You Must Hear Before You Die". Furthermore, the album is included in many best of lists like Slant Magazine's "The 100 Best Albums of the 1990s", Spin's "The 125 Best Albums of the Past 25 Years", Channel 4's "125 Nominations for the 100 Greatest Albums", Elvis Costello's list of "500 Albums You Need", Melody Maker's "Albums of the Year", Mojo's "The Greatest Albums of All Time... and How They Happened", NME's "The 500 Greatest Albums of All Time" - just to mention some. In retrospect, I find the album worth the positive reviews and think of it as an essential contribution to modern popular music as well as a cornerstone in the history of contemporary popular music.
A musical cornerstone and highly recommended.
[ allmusic.com 5 / 5, Spin NME 4,5 / 5, Q Magazine, Select 4 / 5, Rolling Stone Album Guide 3,5 / 5 but Rolling Stone 2 / 5 stars ]

1993 Favourite releases: 1. Tindersticks Tindersticks - 2. Björk Debut - 3. The Breeders Last Splash

Sigur Rós "Valtari" (2012)

Valtari
release date: May 28, 2012
format: digital (10 x File, FLAC)
[album rate: 3,5 / 5] [3,58]
producer: Sigur Rós, Alex Somers
label: self-released - nationality: Iceland

Track highlights: 1. "Ég anda" - 2. "Ekki múkk" - 3. "Varúð" - 5. "Dauðalogn" - 6. "Varðeldur"

6th studio album by Sigur Rós following four years after their fine Með suð í eyrum við spilum endalaust is originally released on EMI / Parlophone and produced by Sigur Rós assisted by Alex Somers. Since then the band went on a hiatus during which lead vocalist Jónsi (aka Jón Þór Birgisson) and (his partner) Alex Somers released their collaboration album Riceboy Sleeps in 2009, and the following year, Jónsi released his solo debut Go. Sigur Rós later issued the 2-disc live album Inni (Nov. 2011, from two concerts recorded in 2008). Valtari consists of eight compositions with a total playing time just below 55 minutes in the standard issues - the WEB-version offered through bandcamp.com comes with two bonus tracks and has a total running around 68 minutes.

With this, the band has in a way returned to an initial state of playing ambient music. It's not as direct and uptempo-shaped nor as open as their great 2008 album but appears as more closed and introspective, It's laid-back and almost exclusively ambient with light harmony vocals as a complete U-turn to their so far most uptempo album to date. In a way, it bonds with the debut but more specifically to the third album, aka "the brackets album" ( ) (2002) but on top of that it also feels very much like a soundtrack - with a soundscape so minimalist, as if without a distinct mission except from creating atmosphere and calmness; and perhaps with an attempt to inspire to be your new favourite music for mindfulness, meditation or for your daily yoga exercises. Actually, this is what it is: ambient touching on new age with drops of progressive pop. And although new age has never been a genre I normally fancy all too much, the thing about this band is, they still make such an original artistic effort that you're still blown away regardless your stylistic preferences.

The album is their so far highest ranked in the US, peaking at number #7 on the Billboard 200, and in the UK it reached #8, which is only surpassed by the band's 2008 album (reaching #5). Furthermore, Valtari is the only album by Sigur Rós to top the album chart list in another country - all their studio albums have peaked the charts in Iceland, but with this they also topped the album sales list in Ireland.

Anyhow, the album is not among my absolute favourites from this amazing Icelandic band but I admit, it has grown on me over the years. So if you, like me, rejected this as a minor piece of work, or as a not successful new direction, you may wanna give it another chance - and then perhaps yet another one 'cause for this band it's obviously not a matter of pleasing current requests regarding choice of styles. And thankfully so.

Recommended listen.

[ allmusic.com 4 / 5, 👍PopMatters, Rolling Stone 3,5 / 5, 👎Pitchfork 3 / 5 stars ]

Sigur Rós "Inni" (2011) (live)

Inni (live)
release date: Nov. 7, 2011
format: 2 cd
[album rate: 4 / 5] [3,82]

recorded by Birgir Jón Birgisson

label: XL Recordings - nationality: Iceland

Track highlights, disc 1): 4. "Fljótavík" - - disc 2): 1. "Sæglópur"

An official double live album by Sigur Rós released three years after the great Með suð í eyrum við spilum endalaust (June 2008). Hvarf - Heim (2007) was the band's first official live album, which also consisted of previously unreleased material, but Inni is their first full live album. The 2008 album was followed by an extensive world-tour, and by 2010 a new album had been rumoured on its way, but instead the band announced to be on a hiatus, while the band members spent time on other projects.

The compositions here stem from most of the band's studio releases but exclude the debut. With two songs from both Ágætis byrjun (1999) and ( ) (2002), four from Takk... (2005), one from the compilation Hvarf / Heim (2007), and five from the 2008 album, Inni naturally focusses on the band's most recent material. One track has not previously been released but would later be included on the 2012 album, Valtari in a different version. Inni has been released in various issues, but both the 3 lp vinyl issue, the 2-disc cd, and the digital version all consist of the same 15 tracks with a total playing time just below 1 hour and 45 minutes. Extended DVD and Blue-ray issues vary with an additional 9-14 tracks film footage, and then an Icelandic limited issue contains even more.

It's truly an amazing performance and a brilliant production. Both the original vinyl issue and the cd issue released on the band's own label Krunk, contain a DVD with live concert footage directed by Vincent Morisset filmed over two nights at the Alexandra Palace, London, Nov. 20-21, 2008 from where all 15 tracks were recorded. Only the issue released on XL was released without DVD or Blue-ray material.

Sigur Rós is without doubt the biggest band from Iceland, and with this, they do it again - only, their music is really not that different played live, so despite the fact that they play absolutely magnificently, and despite that I really enjoy all of it, it's not the most original album of the year. But my gosh, do they perform well.

Highly recommended.

[ allmusic.com, Drowned in Sound, Clash, Consequence of Sound 4 / 5 stars ]

The Sugarcubes "It's-It" (1992)

It's-It, remix album
release date: Oct. 27, 1992
format: cd (MRCD 3205)
[album rate: 3,5 / 5] [3,62]
producer: various
label: Mega Records - nationality: Iceland

Track highlights: 2. "Leash Called Love (Tony Humphries mix)" - 3. "Blue Eyed Pop (S1000 mix)" - 4. "Motorcrash (Justin Robertson mix)" - 6. "Gold (Todd Terry mix)" - 7. "Water (Bryan 'Chuck' New Mix)" - 11. "Hit (Tony Humphries Sweet & Low mix)"

A remix album by The Sugarcubes originally released on One Little Indian. No, it's not an original studio album of new compositions but it's neither a mere compilation of best of, left overs or rarities but an interesting remix album. The songs are taken from the band's three studio albums and most of them have been heavily remixed by various artists. Only "Regina" comes in a Sugarcubes remix, and that's also the compositions sounding most alike the original version. Some tracks have little in common with the familiar song and others still carry recognisable traits from the blue print, and then some are very fine remixes with new stylistic qualities, and yet others are too strange.
The album was the second album that I bought with the band, and perhaps the reason why I didn't bother buying the other two until later. 'Cause many of the best songs from both Here Today... (1989) and Stick Around for Joy (1992) appear on this in heavily "remixed" versions, and frankly, I found these better than the original album versions, although "Birthday" comes in two versions, none of which are better than the original. "Leash Called Love (Tony Humphries mix)" is an even better song here, and all remixes are composed as dance-pop or alt. dance with house as a common denominator, which only add that extra energy to some of the more ('artsy-farty') art pop original compositions.
All in all, a very fine collection.