All of Bjork's biggest hits and best-known songs, the songs that are sure to be familiar even to people who think they don't know Bjork's music, plus one track recorded for this release, 'It's In Our Hands'. Compiled by fans in a unique website vote. Gatefold sleeve. Elektra. 2002.

比约克(Bjork)2005年没出个人专辑，倒是参演了由她丈夫、实验电影导演、前卫艺术家马修·巴尼(Matthew Barney)执导的影片《Drawing Restraint 9》，并为其制作了一张原声。这个以非主流音乐起家最终却成为超越众多主流偶像、登上奥运会舞台的符号式人物，在个人专辑创作中难免要受潜在的、庞大的听众群限制，要保持姿态，还要吸引众人。如此下来，音乐做得一张不如一张，太多曾经追捧过她的人如今对她那些新专辑们无动于衷。 这个时候，能有这么一张“特别”的专辑，绝不是坏事。我们看到，她脱去偶像外衣，以制作人身份出手，确实潇洒了不少。原声在保留了比约克标志型元素的同时又不限于此，大胆地将音乐简化、细碎化、冰岛化、日本化，是一张以器乐为主，同时强调人声的实验专辑，这对于比约克来说，是尝试，也是个回归。 在乐器上，竖琴、管风琴、键盘、大键琴、钟、号、钢琴、打击乐器被大量使用，一些来自民间不知名的铜制、木制乐器也占了较大比重。由此制作出悦耳却孤立的音符，经过对乐器的精心搭配和对器乐的把握，和谐连贯地成了章节，且不失随意之感。这简直是冰岛乐人的拿手好戏，他们总能在旋律与实验性之间找到属于冰岛的位置。《Gratitude》和《Ambergris March》是专辑中最旋律化的歌曲，弦乐极尽动听之势，梦幻清脆的叮叮咚咚；《Hunter Vessel》则最为“枯燥”，单调反复，以氛围为重。影片拍摄于日本、讲述的也是日本的事物文化，原声中亦融进了很多日本音乐。且不说音乐中独特的诡异和神秘感觉，光是乐器很多就采自彼国民间。 人声也是一大聚焦点。比约克在整张专辑中只唱了《Bath》和《Storm》两首，没有歌词，她的人声完全成为对音色和唱腔的一场挑战，并以此来取代一部分器乐，这张唱片也因此被人称为“声乐式唱片”。专辑中的《Pearl》和《Holographic Entrypoint》也是两个极端，前者的人声完全取自一个孩子的喉音，被称为“Throat Singing”，由喉咙发出的各种各样的声响，奇异度不亚于蒙古呼麦；后者则是个中年男人，醉酒般絮絮叨叨地似说似唱着一大堆日文。这样的音乐，也只有在马修·巴尼的电影中能出现。由另类乡村唱作者Will Oldham演唱的《Gratitude》配以上述器乐、再加上童声合唱圣歌，成为专辑中难得的一首有歌词有旋律并且动听的曲目。 This soundtrack is composed by Björk with minimal vocals for celebrated contemporary visual artist Matthew Barney’s next film Drawing Restraint 9. Unlike her soundtrack for Lars von Trier’s film Dancer in the Dark which drew on the tradition of theatrical and cinema musicals (and won her Best Actress at Cannes), this is a collection of delicate single instrument studies for harp, harpsichord and celeste; large orchestral masses scored for trumpet, trombone and oboe, electronic basslines, children’s choir and, in a manner recalling the all-vocal Medulla album, Björk’s singular voice, treated as an instrument of astonishingly flexible texture. One Little Indian. 2005. Honestly, fans of Bjork who are hoping for a massive return to the styles of pre-Medulla will probably be disappointed by this latest project. But judged on its own merits Drawing Restraint 9 remains an intriguing, but still somewhat forgettable experience. Bjork's trademark icy vocals take a backseat to Eastern influenced instrumentation. Aside from three tracks, the singing is performed by guest artists. "Pearl" sounds like an extension of "Ancestors" with its forceful, grating throat singing. Others simply come off as a bit dull and spiritless. They don't seem to have much blood in them. However, "Storm" is one recognizable highlight that evokes the chaotic rumbles of Homogenic. It's a fantastic version of a song that Bjork has only performed live up until now. I can't say this is a soundtrack that I will hold on to for a while, but it's something that's certainly worth a listen.

A special box set featuring six CDs - five 3'' & one 5'' - of her own personal favorite songs, which in her words represent 'the story of how I got to where I am today & in my musical words to say how I developed as a musician.' The box will include tracks, some previously unreleased, taken from Bjork's whole career, not just her solo career. The discs include one CD on which Bjork compiles her own 'greatest hits', & a series of 3'' mini -CDs divided into 'Roots', 'Beats' & 'Strings' collections. Family Tree is packaged in a custom made transparent rose colored plastic case, Ingeniously configured to house the six disc set. Includes a 16 page lyric book, a map guiding fans through the collection & individual packaging for each branch of the tree. Elektra. 2002.

Bjork is one of the most recognized stars in the world. She has sold millions of copies of her groundbreaking albums, she is an icon of cutting edge style, and she has received worldwide acclaim as an actress. Medulla, Bjork's first new studio album in three years, finds her delving deeper than ever before into her haunting and exhilarating sound and vision. Innovative as always, Bjork has this time built the songs on Medulla entirely from vocal tracks, with no instruments appearing on the album, creating a soundscape unlike anything you've ever heard before. Special guests include Rahzel from The Roots, Mike Patton of Faith No More and Mr. Bungle, an Inuit throat singer, an Icelandic choir, the world's greatest human beatboxes and more.

Post是冰岛歌姬Bjork在1995年发行的专辑. 　　这张专辑比上一张(处女作Debut)更为隐晦,更为成熟.这张犹如史诗般的专辑把人们的耳朵从泛滥的舞曲和工业化的流行乐中苏醒.可以说来得正是时候. 　　第二张专辑能够远远超越第一张作品的艺人并不多.但Bjork显然是一个例外.更强的节奏感,更具创意的制作,对世界更宽广的洞察力,Bjork的这张专辑在时隔10年的今天,听起来同样如同10年前那样令人耳目一新.通过这张经典的专辑,Bjork不仅仅改变了90年代的唱片界,同样改变了我对音乐的理解和感知.是本人强烈推荐的一张专辑. 　　This Icelandic marvel is such an original that, even after four Sugarcubes albums and a brilliant solo Debut, she remains an acquired taste. "Army of Me" is a turbulent, darkling tune that's almost conventional next to the gloriously eclectic material that follows. Working with Tricky, Soul II Soul/U2 producer Nellee Hooper, and string arranger/one-hit wonder Deodato, Björk looses her helium-fueled voice and surreal wordplay on Gershwinesque pop (the adorable "It's Oh So Quiet"), ambient dub ("Possibly Maybe") and all kinds of fresh dance/pop hybrids ("Enjoy," "Hyper-Ballad," "I Miss You"). Too raw and adventurous for mass success, perhaps, but a more unique, engaging, oddly accessible artist just doesn't exist. --Jeff Bateman

Vespertine, released in August 2001, is an album by the Icelandic singer/songwriter/musician Björk. It sees Björk creating an introverted, quiet world of swirling microbeats and personal lyrics. On the cover she can be seen wearing the swan dress (designed by Marjan Pejoski) that caused a stir at the 2001 Academy Awards. The album was originally released both on CD and on DVD-Audio in 2-channel (48khz/24bit) and 5.1-channel (96khz/24bit) advanced resolution. It peaked at number eight in the UK Albums Chart and at number 19 in the U.S. Billboard 200. It was also nominated for Best Alternative Album at the 2002 Grammy Awards. Recently music webzine Drowned In Sound named Vespertine the number-one album of the last six years not to garner press attention.[1] Stylus Magazine placed it 36th on their 'Top 50 Albums: 2000-2005 Vespertine was also selected as one of the 1001 Albums You Must Hear Before You Die. The album was re-released in 2006 as a DualDisc including a lower-quality DTS 96/24 version of the original advanced resolution 5.1 mix. The DualDisc also formed part of the box set. On August 22, 2008 Björk wrote an open letter on her official website expressing her anger at the fact that Valgeir Sigurðsson has over the years been credited with writing the instrumentals for the album. She explained that he had been only an engineer and programmer (and that she herself had produced every track on the album), and argued that part of the reason was to do with sexism in the music industry.

Bjork returns to her iconic, innovative and rhythmic roots with Volta. Featuring her own infamous beats and collaborations with Timbaland, Antony Hegarty, Brian Chippendale and an all-female Icelandic brass section, the end result is an explosion of beats and an amalgamtion of sound and visuals that give Volta a life of its own, like the world hasn't seen from Bjork in years.

Homogenic is the third studio album by Icelandic musician Björk, released in September 1997. Produced by Björk, Mark Bell, Guy Sigsworth, Howie B and Markus Dravs, it was released on One Little Indian Records. The music of Homogenic was a new style for Björk, focusing on similar sounding music combining electronic beats and string instruments with songs in tribute to her native country Iceland. Homogenic was originally to be produced in her home in London, United Kingdom, but was later recorded in Spain to avoid interruption from the press after the suicide of Björk's stalker Ricardo Lopez. Homogenic marked the first of several production collaborations between Mark Bell and Björk, who Björk would cite as a major influence on her musical career. The album peaked at number twenty-eight on the Billboard 200, and at number four on the UK Albums Chart. Five singles were released from Homogenic: "Jóga", "Bachelorette", "Hunter", "Alarm Call" and "All Is Full of Love". Homogenic was highly acclaimed on its initial release and continues to be praised by critics, with Sal Cinquemani of Slant Magazine stating that "if not the greatest electronic album of all time, it's certainly the greatest of its decade".

Björk这女人从骨子里透着天然妖气势不可挡。 今天介绍她早期时候，和乐队一起制作的专辑《Gling Glo》。Björk的曲风还算挺多变的，每张专辑都有不同的侧重点。这张专辑有点年数了，1990年9月的，是张传统冰岛爵士唱片。喜欢爵士的朋友，不妨载来听听，别有风味。 1990年，Bjork 和一个叫Trio Gudmundar Ingolfssonar的当地一支爵士三重奏乐队，录制了一些爵士乐歌曲，全张专辑的曲子都上用她的母语——冰岛语演唱。这张专辑的名字是《Gling-Glo》，但当时只有在冰岛发行。Bjork担任VOCAL，Gudmundar负责钢琴伴奏。乐队的另两位成员分别完成爵士鼓和BASS的部分。如果你是BJORK的忠实乐迷，在收集了她所有的英文唱片之后，又怎能错过这张欢快而绝妙的冰岛语爵士唱片呢？ Bjork一直被当作另类女王，电子舞曲的弄潮儿。谁想到她更是一流的JAZZ VOCAL！冰岛语表演的爵士，卷舌音清脆浓郁。让人几乎在欣赏音乐的同时，也爱上了这种语言本身的发音。有着俄语一般的华贵，是狂欢节的呓语。 Gling-Glo在冰岛语里是一个相当于英语TIC-TOC的象声词，即中文里"叮当"的钟声，那更接近于教堂的钟声。Gling-Glo作为唱片的第一首曲目，表达了一个简单而幸福的场景。"月亮在云朵上微笑，钟鸣叮当，男孩在路上，女孩等着他，男孩幸福地笑着，因为女孩回答说我愿意。"清脆、嘹亮，简单、快乐。不过这种简单的幸福，如今匆忙的人世中，几近一种昂贵的药片。唱片中几乎所有的作品，都表达了简单的场景和意义，小孩子、小日子、小快乐……但这些难道不是一种大幸福吗？ 作为专辑的点题作“Gling Glo”，丁冬的琴音，乖巧的女声，恍惚置身一个简单而幸福的场景，这份简单，在如今烦嚣的尘世中，真个是一份奢侈。紧接而下的“Luktar-Gvendur”，更感暖意浓浓，此时方才充实。听过此碟，相信会发现Bjork在里面卷舌音的运用、咬字的处理很有自己独到的一套，极易感染听者，如“Kata Rokkar”、“Brestir og Brak”等。在“Eg Veit Ei Hvad Skal Segja”、“Rornin Vid Tjornina”中，小孩般的嬉闹，竟如在听儿歌。“Ruby Baby”那略带点儿轻爵士的味道，又如同烟雾缭绕般的迷惑。 Björk唱得像个顽皮的小男孩。这个精灵愿意飞到人群中，扒开他们僵直的脸部肌肉吗？闲看都市大厦间穿行的红男绿女，总奇怪他们为什么都一个表情？--僵冷的、扮酷的，漠然的，骨子里却是极度不安的。都市人缺乏随意闲适的心情，这个时候请参照Björk，多点孩子气，或许更好看一些。 《Gling Glo》可以放在酒吧里听，懒懒的，但味道浓郁，这就是爵士下的迷幻药。它是一张在你最最伤心难过的时候，也可以让你的心情明亮起来的作品，这是音乐的曼妙力量。如果你觉得Bjork冷，那么GLING-GLO决不会。它饱和的音乐色彩，像节日的礼物，当幸福的钟声响起，孩子迫不及待地打开它…… 相当令人惊讶的专辑，你一定会喜欢。

Renowned director Lars Von Trier's stroke of genius in making his 2000 film DANCER IN THE DARK was to cast Iceland-born avant-pop siren Bjork in the central role and then enlist her aid in composing and performing a series of musical numbers for the movie. In the film, Bjork's character Selma lives an unrelentingly hard life as a single mother and factory worker who is quickly going blind. The film's songs come from Selma's inner world, where she (and the audience) find respite from all the harshness of reality. Bjork's compositions, with orchestral arrangements from Vince Mendoza, hang together on their own quite nicely. Catherine Deneuve (Bjork's co-star) and Radiohead's Thom Yorke make effective vocal cameos, but Bjork's voice and music are the central focus. As we hear the industrial sounds of the factory turn into the rhythm of a song, or follow Bjork's oddly intuitive melodic leaps through a dreamlike haze of strings, it becomes clear that her idiosyncratic writing style adapts quite well to the cinematic milieu. As usual, her uniquely entrancing singing style stands out above almost all else.

Charity record to benefit Unicef (The United Nations International Emergency Fund). An invitation to submit versions of "Army of Me", Bjork's most popular title for covers it transpired, was posted on bjork.com. 600+ were received in a week through which Bjork and the song's co-writer, Graham (808 State) Massey, worked to select 20. As stylistically varied as the song's originator and the officially commissioned remixes at the time, the selection incorporates the extreme metal of Canada's Interzone to the Spanish country take of The Messengers of God, via electroclash and accordion interpretations. One Little Indian. 2005.

Japanese pressing of her debut album includes the UK bonus track, 'Play Dead' along with the Japanese only bonus track, 'Atlantic'. 13 tracks in all, including lyrics to all tracks . 1994 release.

1993 release on One Little Indian featuring six mixes of tracks from the former Sugarcubes solo debut: 'Human Behaviour' (The Underworld Mix), 'One Day' (Endorphin Mix & Springs Eternal Mix), 'Come To Me' (Black Dog Mix & Sabres Of Paradise) and 'The Anchor Song' (Black Dog Mix). Comes ina sealed slipcase sleeve.

冰岛歌姬Bjork继Volta后，与Thom Yorke合作的最新单曲!