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Track Listings
| 1. Human behaviour |
| 2. Crying |
| 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 |
| 8. Aeroplane |
| 9. Come to me |
| 10. Violently happy |
| 11. The anchor song |
| 12. Play dead |
Product Description
Amazon.co.uk Review
Her first album following the break-up of the Sugarcubes, Debut is Icelandic trickster Björk's statement of purpose: bringing curious experimentalism to the dance floor and putting her startling, expressive voice front and centre. Her perspective is a little alien--it's no accident that the first song talks about "getting close to a human"--but her levelling of genre distinctions has some wonderful results, especially the eroticised easy-listening reggae sway of "Venus As a Boy". Paired with producer Nellee Hooper (of Soul II Soul), she comes up with a series of invitingly artificial settings for her pipes, built from late-night beats and peculiar timbres, and sings like she's overwhelmed with joy from all her senses. --Douglas Wolk
Description
With DEBUT, the Icelandic thrush Bjork Godmundsdottir (lateof the Sugarcubes) brings her knowing innocence and quirky voice to bear on an engaging program of renegade pop tunes. The unusual instrumental textures on songs such as "Human Behavior", fleshed out with timpani, small percussion instruments, vibraphones and harps, suggests a post-modern version of Phil Spector.
As a singer, Bjork's swooping octave leaps and guttural cries betray the elemental contradictions in her music. She projects the girlish innocence and barely constrained sensuality of a wise child, old beyond her years (the techno-reggae romanticism of "Venus As A Boy", the bouncyhouse changes of "Big Time Sensuality" and "Violently Happy"), and sometimes she sounds like she's trying to rediscoverhow such doe-eyed love might actually feel, as if for the first time (the mysterious groove of "One Day" and the jazzy standard "Like Someone In Love", with its spare harp accompaniment).
There's a pronounced techno feel to DEBUT, with its airy synthesizers and spacious, uncluttered mixes, but without the cool, mechanised detachment of that genre. On "Aeroplane" Bjork combines a saxophone quartet with Middle Eastern-flavoured percussion to steer her tale of obsessive lovejust outside of the pop mainstream, while the unusual saxophone harmonies of "The Anchor Song" lend a folkish colour toher extended metaphors on home and erotic immersion. It's precisely Bjork's sense of adventure that gives DEBUT such a cool exotic flavour.
Her first album following the break-up of the Sugarcubes, Debut is Icelandic trickster Björk's statement of purpose: bringing curious experimentalism to the dance floor and putting her startling, expressive voice front and centre. Her perspective is a little alien--it's no accident that the first song talks about "getting close to a human"--but her levelling of genre distinctions has some wonderful results, especially the eroticised easy-listening reggae sway of "Venus As a Boy". Paired with producer Nellee Hooper (of Soul II Soul), she comes up with a series of invitingly artificial settings for her pipes, built from late-night beats and peculiar timbres, and sings like she's overwhelmed with joy from all her senses. --Douglas Wolk
Description
With DEBUT, the Icelandic thrush Bjork Godmundsdottir (lateof the Sugarcubes) brings her knowing innocence and quirky voice to bear on an engaging program of renegade pop tunes. The unusual instrumental textures on songs such as "Human Behavior", fleshed out with timpani, small percussion instruments, vibraphones and harps, suggests a post-modern version of Phil Spector.
As a singer, Bjork's swooping octave leaps and guttural cries betray the elemental contradictions in her music. She projects the girlish innocence and barely constrained sensuality of a wise child, old beyond her years (the techno-reggae romanticism of "Venus As A Boy", the bouncyhouse changes of "Big Time Sensuality" and "Violently Happy"), and sometimes she sounds like she's trying to rediscoverhow such doe-eyed love might actually feel, as if for the first time (the mysterious groove of "One Day" and the jazzy standard "Like Someone In Love", with its spare harp accompaniment).
There's a pronounced techno feel to DEBUT, with its airy synthesizers and spacious, uncluttered mixes, but without the cool, mechanised detachment of that genre. On "Aeroplane" Bjork combines a saxophone quartet with Middle Eastern-flavoured percussion to steer her tale of obsessive lovejust outside of the pop mainstream, while the unusual saxophone harmonies of "The Anchor Song" lend a folkish colour toher extended metaphors on home and erotic immersion. It's precisely Bjork's sense of adventure that gives DEBUT such a cool exotic flavour.