Bjork For 1 Debut Post

Post is the second solo studio album by Icelandic musician Björk. The album was released in June 1995 through One Little Indian in the United Kingdom and Elektra Records in the United States. Unlike her previous release Debut—which was almost entirely produced by Nellee Hooper—Post is characterised by more collaborative efforts, including production by Hooper, 808 State's Graham Massey, and former Massive Attack member Tricky. Moreover, Björk co-produced every song on the album. Post received widespread critical acclaim from reviewers and was a commercial success, charting at number 2 in the United Kingdom and 32 in the United States. It was certified gold in New Zealand and Sweden, and platinum in Australia, Canada, the United States, and the United Kingdom. Telegram, a remix album of songs from Post, was released in 1996.

Post is the second solo studio album by Icelandic musician Björk. The album was released in June 1995 through One Little Indian in the United Kingdom and Elektra Records in the United States. Unlike her previous release Debut—which was almost entirely produced by Nellee Hooper—Post is characterised by more collaborative efforts, including production by Hooper, 808 State's Graham Massey, and former Massive Attack member Tricky. Moreover, Björk co-produced every song on the album. Post received widespread critical acclaim from reviewers and was a commercial success, charting at number 2 in the United Kingdom and 32 in the United States. It was certified gold in New Zealand and Sweden, and platinum in Australia, Canada, the United States, and the United Kingdom. Telegram, a remix album of songs from Post, was released in 1996.

After Debut's success, the pressure was on Björk to surpass that album's creative, tantalizing electronic pop. She more than delivered with 1995's Post; from the menacing, industrial-tinged opener, "Army of Me," it's clear that this album is not simply Debut redux. The songs' production and arrangements - especially those of the epic, modern fairy tale "Isobel" - all aim for, and accomplish, more. Post also features Debut producer Nellee Hooper, 808 State's Graham Massey, Howie B, and Tricky, who help Björk incorporate a spectrum of electronic and orchestral styles into songs like "Hyperballad," which sounds like a love song penned by Aphex Twin. Meanwhile, the bristling beats on the volatile, sensual "Enjoy" and the fragile, weightless ballad "Possibly Maybe" nod to trip-hop without being overwhelmed by it…

Though Björk has written music for films before, her collaboration with Matthew Barney on Drawing Restraint 9 is a much deeper and more natural pairing, which makes sense, considering that they're partners in life (and now in art). Björk's pieces for the film reflect its fusions of the contemporary with the ancient, and the organic with the technological - themes that she has dealt with in her own work, especially on later albums like Medúlla. The motif of West meeting East is also prominent in the visual and musical halves of Drawing Restraint 9: shot in Nagasaki Bay, the film depicts a pair of occidental guests (played by Barney and Björk) who visit a Japanese whaling ship and evolve into whales to escape drowning when a storm hits…

Though Björk has written music for films before, her collaboration with Matthew Barney on Drawing Restraint 9 is a much deeper and more natural pairing, which makes sense, considering that they're partners in life (and now in art). Björk's pieces for the film reflect its fusions of the contemporary with the ancient, and the organic with the technological - themes that she has dealt with in her own work, especially on later albums like Medúlla. The motif of West meeting East is also prominent in the visual and musical halves of Drawing Restraint 9: shot in Nagasaki Bay, the film depicts a pair of occidental guests (played by Barney and Björk) who visit a Japanese whaling ship and evolve into whales to escape drowning when a storm hits…

Though Björk has written music for films before, her collaboration with Matthew Barney on Drawing Restraint 9 is a much deeper and more natural pairing, which makes sense, considering that they're partners in life (and now in art). Björk's pieces for the film reflect its fusions of the contemporary with the ancient, and the organic with the technological - themes that she has dealt with in her own work, especially on later albums like Medúlla. The motif of West meeting East is also prominent in the visual and musical halves of Drawing Restraint 9: shot in Nagasaki Bay, the film depicts a pair of occidental guests (played by Barney and Björk) who visit a Japanese whaling ship and evolve into whales to escape drowning when a storm hits…

After cathartic statements like Homogenic, the role of Selma in Dancer in the Dark, and the film's somber companion piece, Selmasongs, it's not surprising that Björk's first album in four years is less emotionally wrenching. But Vespertine isn't so much a departure from her previous work as a culmination of the musical distance she's traveled; within songs like the subtly sensual "Hidden Place" and "Undo" are traces of Debut and Post's gentle loveliness, as well as Homogenic and Selmasongs' reflective, searching moments. Described by Björk as "about being on your own in your house with your laptop and whispering for a year and just writing a very peaceful song that tiptoes," Vespertine's vocals seldom rise above a whisper, the rhythms mimic heartbeats and breathing, and a pristine, music-box delicacy unites the album into a deceptively fragile, hypnotic whole…