Bjork Gudmundsdottir
[Bjork]



1993 Debut (One Little Indian tplp31)
1995 Post (One Little Indian tplp51)
1996 Telegram (One Little Indian tplp61)
1997 Homogenic (One Little Indian tplp71)
2000 Selmasongs (One Little Indian tplp151)
2001 Vespertine (One Little Indian tplp101)
2002 Family Tree (One Little Indian tplp359)
2002 Greatest Hits (One Little Indian tplp365)
2003 Livebox (One Little Indian tplp355)
2004 Medulla (One Little Indian tplp358)
2007 Volta (One Little Indian tplp460)

Bjork Gudmundsdottir born in Reykjavik, Iceland, in 1965. In 1987, Einer Orn, Siggi Baldurson and Bjork formed a new band, called The Sugarcubes, with Thor Eldon, Magga Ornolfsdottir and Bragi Olafsson. Debut, released in July 1993, changed everything. Debut was followed in 1993 by Post, an even bigger success that added Graham Massey, Howie B and Tricky to Nellee Hooper's production skills. After Post, Homogenic , released in 1997, was more experimental in its contrasting textures, more bold in its intensity and structure. Produced by Bjork with Mark Bell, Guy Sigsworth and Howie B, this was a project through which Bjork began to feel more confidence in the breadth of her own ability. Her decision to both act in the starring role and compose the soundtrack for Lars Von Trier's film, Dancer In The Dark exposed her to vitriolic criticism from some film critics yet earned respect among those who recognised her need to move forward and take on new challenges. Her choice of collaborators over the years - fashion designers Alexander McQueen and Hussein Chalayan, photographers Nick Knight, Stephane Sednaoui and Nobuyoshi Araki, video directors Chris Cunningham, Michel Gondry and Spike Jonze, percussionists Evelyn Glennie and Talvin Singh, remixers Dillinja, Funkstorung, Mika Vainio and Underworld - is a reflection of this desire to work with artists at the cutting edge. With Vespertine, as ever, she had a sensitive ear for who or what is the hottest noise: the ferociously detailed micro-rhythms of the San Francisco duo Matmos, Matthew Herbert or Thomas Knak contrasting with the fragile acoustic beauty of harp, music box and clavichord. Despite rhythm tracks constructed by teams that defined state of the art beats, this was a collection of overpoweringly emotional songs.