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4.6 out of 5 stars
4.6 out of 5 stars
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on 8 July 2015
I think there was a fault in this particular bingo have just sent the second one back
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on 9 September 2010
Homogenic was recorded and released at possibly Bjork's most controversially intense point of her career, as many have stated she was something of a media uproar throughout the years since her remarkable Debut and Post albums, but in regard Homogenic is surprisingly reflective of this period in the sense that it plays down that huge style schizophrenic productions of her previous masterpiece albums Debut and Post which appeared to range from Trip-Hop to House to R&B to Folk and Rock and all in between with her distictfully raw and unusual deliver of her crisp vocals. Homogenic delivers something of a minimalistic production and works all the better for it rather than trying to out-do and out achieve her previous recordings it matches itself by being(like the two albums) and absolutely distinct fully remarkable album that can stand on its own strength.

Homogenic forces Bjork down a musical path of exploration and discovery as well as a much more darker use of trip-hop at the genre's most brutally honest and thumpy, due to this alongside Bjork's previous albums Homogenic becomes one of the most absolutely exceptional albums from the 90's decade and remains as fresh and as exciting from when the album was released in 1997. An era that showed spiritual discoveries within the entertainment industry with movies from directors such as David Fincher,Wes Creven,Robert Zemeckis and Quentin Tarantino amongst others creating such revolutionary films during the 90's that shwoed the focus being on artistry and skill and focus of the future (Fight Club,Forest Gump,Toy Story,Pulp Fiction,Se7en,Reservoir Dogs and more to name!) and Bjork is one of those music artists that managed to achieve that with her pure minded musical journies and alongside Queen Of Pop Madonna(Erotica,Ray Of Light,Music and collaboration on Bedtime Stories),Nirvana,Moby(Play),Tori Amos,Kate Bush(The Red Shoes album) to name a few who really encaptured that direction of the decade and will ALWAYS be instantly recognised for their works and achievements throughout their recordings.

Homogenic is a pure staple and an almost filmlike journey of an album by one of the most artfully surrealist artists of my generation and was one of the artists who ensured that the 90's were and exceptional time to grow up in.

An album that demands more than one trip and listen, this is a journey worth re-taking again,and again. 10/10
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TOP 500 REVIEWERon 13 September 2013
I must admit to only having acquired this magnificent album recently, prompted, incidentally, by watching the recent TV documentary on the making of her recent album, Biophilia. Having said this, I have always found Bjork's music, idiosyncratic vocal style and, indeed, persona, extremely fascinating (as well as admiring her powerful acting performance in Lars von Trier's film Dancer In The Dark). Having owned the earlier two albums Debut and Post since their release, I had never quite got into these songs (with the exception of a handful, such as Hyperballad, Venus As A Boy, You've Been Flirting Again, Come To Me, Isobel, etc) to the extent that I have with those on Homogenic.

I am also not generally a fan of electronic music per se (which is probably reflected in the fact that my least favourite song on the album is Pluto), but here, Bjork's fusion of this with the classical acoustic sounds from the Icelandic String Octet makes for an intoxicating, and frequently sweeping and grandiose, mix. Indeed, this combination of the modern and 'ancient' seems to reinforce the singer's intentions for the album that, sonically in particular, it is conceptually focused on her native Iceland. Lyrically, on the other hand, many of the songs are obviously very personal, and tell intimate tales either around the electronic beats of songs All Neon Like, 5 Years and Immature or on the more sedate, and predominantly acoustic feel, of achingly beautiful songs like All Is Full Of Love and (a personal favourite) Unravel. Otherwise, there are perhaps more esoteric and poetic forces at work on the superb sweeping melodrama of Joga and Bachelorette, whilst album opener Hunter's haunting melody also gives a brief flavour of the diminutive one's ironic humour (and mastery of the 'Brit vernacular') as she quips, 'Thought I could organise freedom, how Scandinavian of me, you sussed it out didn't you?'. Throughout, of course, Bjork's vocals exude intoxicating levels of intimacy and passion, whether this be during the near-whispered interludes or on the big, soaring choruses.

An album that showcases an extraordinary and original talent and one that will keep me paying closer attention to her career going forward.
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on 3 March 2006
The immediate years after "Post’s" release in 1995 were not kind to Björk. Sure she ascertained a level of global fame most pop stars only dream of, scooped up numerous accolades (including a Grammy nomination) and was now rubbing shoulders with fellow members of the alt-pop glitterati, but it came at a price. As her very public explosion at Bangkok airport suggested, Björk was going through a tough time, “highlights” including a very high profile breakup to drum and bass mentalcase Goldie and a disturbing attempt on her life by a crazed fan. Quite understandably, a shell-shocked Björk sought refuge, which meant to get back to her nativeland and discover her roots. Though the turbulent times shouldn’t be wished on any pop star, the results heralded Björk’s third solo album, "Homogenic", her attempt at “modern Icelandic pop music” and an album that cemented her reputation as pop music’s most innovative star. Sure the girl from "Debut" was long gone, but in her place was a one-woman army with a heart of steel and resilience beyond measure.
Björk has said in interviews that Iceland’s geography figures especially large in the album with regards to its conceptual instrumentation. Björk and her programmers actually collected sounds of volcanoes and springs erupting and fissuring in the Icelandic countryside to form the beats of most of the songs of "Homogenic", lending them a rough-and-ready pulse complemented by string arrangements that go beyond romanticism. The result is a nice change from "Post’s" affable schizophrenia and the album greatly benefits from Björk being the resolute producer of the album, aided in no small part by Mark Bell of LFO, fellow songwriter Guy Sigsworth and hip hop alumni Howie B. Björk is no longer the passive, alien presence indicated in her last albums, politely introducing herself and getting involved with strangers of the world. In a sense, she is back on home turf, taking stock of her homeland, her friends and mostly herself, soldiering on against those who have failed her with a steady eye for the world of tomorrow.
Displaying the angst and wariness of ineffectual partnership best are songs like the foreboding opener “Hunter” (“So you left me on my own,” she sings icily, “now I’m leaving it all behind”), the bittersweet “Bachelorette” (“If you forget my name, you will go astray”) and the bilious “5 Years”, the latter showcasing Björk in a particular nasty rancour. Amidst the gloom, however, we have reminders of Björk’s eternal optimism, among them an ode to her best friend, “Jóga”, supplying the most heart-rending moments on the album, and “Alarm Call”, which is quite possibly the finest pure pop song Björk has yet written. This isn’t including, of course, the mournful “Unravel”, Björk’s laments synchronized over each other as a funeral march plays in the background, or the barnstorming “Pluto”, where Björk literally explodes before your very ears with the help of a relentless grinding back beat courtesy of Bell’s avant-leaning production.
There are some minor problems, nearly all of them to do with a matter of taste. The production may sound a little off kilter for some people, and some of the songs tend to wander a little too far beyond their welcome (“All Neon Like” and the album version of “All Is Full Of Love”, though powerfully delivered in vocal, lack something the other tracks do). Other than that, Björk has unmistakably delivered another classic album, as complete as "Debut", darker than "Post" and a dash more experimental with her listeners’ ears. With "Homogenic", she helped change the face of pop music the world over; Missy Elliott and Goldfrapp undoubtedly delivered albums much in the same vein as Björk’s beats-and-strings ethos in "Da Real World" and "Black Cherry". And the most exciting facet of the album remains that, out of all of the albums she has released, this is unequivocally hers.
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A great talent, that on this disc pulled apart her red velvet Palladium curtains, those tethered with the gold silken spider web thread, to allow the viewer to gaze from the front. Bjork turns up as an entertainer rather than some "pop fodder," which attracts those with adolescent hormones to the sugary make believe worlds of perennial kitsch.

She allowed the general star struck public to finally enter her self built world, and it appeared, it was too dark for them. Accustomed to light, bubbly, frothy effervescent pop, she enticed them all with sugar lollies and iced candy, before providing a red wool carpet, for all and sundry to enter her Norse mythological world. When you enter this you are gradually pulled in and then the doors slam. Poor little creatures used to lite entertainment get all woosy and want to back out.

Deep bass pulses announce with strings her full intent; Bjork appears as the huntress. Eerie voices swoop in from the night skies and frighten the little kittens. Emotions tug at the gut, as the viola plays to her state of emergency, a plea to her fragmentation as she sears in her storm ridden sea. Whoosh the music goes, ouch goes the born too young.

Meanwhile she has shut off the lights and performs in the astral dark. Classical strings, linked to dub and trance allow her to perform vocal gymnastics as she cavorts as a malevolent sprite shimmering in front of your face. The little girl lost swoops to avenge her solitude with determined force.

After she has had her way, finally you are tossed out, right at the end and enter a world less somehow real.
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on 4 April 2014
A more consistent album than her earlier debut, Bjork's "Homogenic" demonstrates a degree of originality and maturity which immediately explains the fascination with her music that so many jazz musicians have had. Whilst there are a few tracks that perhaps don't quite work, the better material on this record (about 80% if the content) transcends pop music as the Icelandic singer / composer started to demonstrate her ability as one of the last great songwriters of the 20th century. "Alarm call" is the most obviously "poppy" track. The disc concludes with "All is full of love" in a different mix from the single yet another example of quality songwriting.

The opening five tracks represent some of Bjork's strongest material. "Hunter" remains a potent arrangement and it is no surprise that this tune was little altered within Travis Sullivan's version recorded by his Bjorkestra. I love the menacing quality of this track. "Batchlorette" is perhaps the most significant piece of song-writing on the disc and almost as good as "Unison" which I think is her masterpiece. The disjointed rhythmic feel of much of the music and the way in which the lyrics are stretched and pulled over the melody lines is a huge appeal for me and with the passage of time, "Homogenic" seems more like an attempt to produce thought-provoking and innovative music than the pop music it once was. I think that Bjork's distinctive voice is also well served by some startling arrangements which accentuate the odd-ness of the music.

As a whole, I am not really too keen on pop music and tend to listen to the kind that is more closely aligned to jazz which I think has been a crucial ingredient in ensuring the results are musically interesting . With Bjork the influences are probably more wide ranging but she remains a true original as well as an artist who has had the reverse effect of inspiring jazz musicians.
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on 27 June 2014
Bjork has always had impeccable taste when it comes to those she chooses to collaborate with. Looking through her catalogue, it's like a who's who of the cream of underground electronic performers. Her singles are always worth getting as they're choc full of remixes by great producers, in fact the singles from each album when put together are of more interest to me than the albums themselves. Homogenic is her first album which breaks this trend, it is an immaculate piece of work. She has teamed up with Mark Bell from techno artists par excellence LFO and his presence is made clear in the leftfield electronic landscape. My favourite tracks are the few that have the Icelandic String Octet performing, the juxtaposition of organic strings with icy electronics results in sonic excellence and originality, particularly on 'Joga' and album highlight 'Bachelorette', acoustic and electric together resulting in brilliant work that is greater than the sum of its parts. Let's not forget that unique voice, the delivery is confident and I believe it to be her best vocal performance, the lyrics are expectedly bonkers enough to leave you puzzled for a good few listens, I'm still trying to fathom them out. Unfortunately I don't think she ever matched or bettered this album, without doubt her greatest work.
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on 6 March 2015
No cover!
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on 3 October 2016
Bjork Is Simply Rare - She has a unique ability to impress me every time and considering that for many years I negated her music thinking it was too commercial for me I have come back to opening my mind and I am glad I did. I just visited the London Exhibition of Bjork which featured a interactive show at Somerset House which blew me away. Once I left I decided to pop into the shop and grab this album. Very well produced deep and moody beats with complexed styles and of course great lyrics by herself. I am certain that I am going to buy all of her music and I am fully restored as a Bjork fan. I think it is a bit like Radiohead for me in that, they are globally well known and that usually puts me off but, I have gradually learned to appreciate their material. Anyway, back to Bjork - I think if you truly appreciate her work you cannot fail to appreciate this.
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on 7 June 2012
Well What can I say been a fan of Bjork all my life and by far this is one of my favourite Albums she has created , It mainly focuses on trip hop tunes , yet you cant exactly put a genre on Bjork , Stand out tracks Include .

All is Full of Love * Note this is NOT the original edit of the song it's Howies Version ( still a cracking song though )

Any fan of Radiohead , The Sugarcubes , Tricky , Goldfrapp , Coldplay even , This would be a perfect asset to your CD collection (Does sound good on vinyl though ! ) 5 stars !!!!
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