
Björk is not singularly responsible for creating Icelandophilia, an obsession with all things related to the tiny Nordic island. But, the artist’s sudden and colossal success, together with the otherworldliness of her music, certainly helped sell as many tourist getaways as Icelandic hot springs, black beaches, or puffins.
By 1997, there weren’t many alternative artists who were more famous, more greatly respected or trusted than Bjork. This meant that the Nordic singer could break once again from the sound and image that had defined her. “Homogenic” was received by the music press as nothing less than a music revelation upon its original 1997 release.
Has time worn down the facade, or does it have the same spellbinding appeal? I’m reviewing and revisiting “Homogenic” to try and find out.

Björk’s Journey to Making “Homogenic”
It’s not easy to describe just how famous Björk was by the mid to late 1990s. A superstar from a place that didn’t produce them typically, from a music world that didn’t much care about stardom, Björk had charmed herself into the good graces of the public.
Those who were not obsessed with her strange, cutting-edge sounds and vision were merely fascinated or shocked by how much risk-taking one platinum-selling artist could take.
But Björk was used to attention being given to her music, and she was no stranger to trying to break down musical barriers. She was, after all, the product of a small but vibrant punk-rock scene that had begun on the streets of Reykjavík. Bjork’s parents were artsy hippies, and they had lived in a commune for a while.
This was not as eccentric as it would’ve been in other parts of the world. While Iceland only had a population of 200.000 people, it still contains the largest group of musicians per capita.
Björk spent her teens learning to play music and forming bands like the all-girl punk-rock unit Spit and Snot, the jazzy Exodus, or the confrontational Tappi Tikarass. While Iceland has always been a place open to artistic expression, most of these musical activities were hosted by a couple of bars and later a music store, currently staples of alternative tourism trips in Reykjavík.

The Sugarcubes and “Debut”
By the late 1980s, Björk was a member of The Sugarcubes, arguably Iceland’s first major musical export. Interpreting punk-rock and jangle-pop from a unique angle, the group was beloved in indie rock circles. They even managed to become something of a sensation in the U.K. underground.
By early 1992, the group had run out of steam, and Einar Örn Benediktsson, the de facto leader of The Sugarcubes, pulled the plug on the group. This left Björk to pursue her musical interests on her own.
To her credit, Björk Guðmundsdóttir’s first release after the breakup echoed the sounds that had made her famous with the cool indie kids. Released in 1993, “Debut,” ironically not her first album, brought alternative dance sounds and experimental pop to the forefront. And it was Björk’s playful, pixie-like persona that further helped the songs reach the MTV public.
“Debut” sold millions. Björk followed it up with the trip-hop-inspired “Post,” whose sound was influenced by the artist’s newfound love of England, the country which had adopted here. More success, additional touring commitments and suffocating fan and media interest followed.

Context for “Homogenic”
“Homogenic” arrived in 1997. A few important things had happened by that stage. Dance music had been absorbed not just in alternative rock and indie parts. It had been fully accepted by the mainstream. Massive Attack, or Portishead records, were platinum sellers. Björk had distanced herself further from classic guitar music. She was friends with many of the stars of U.K. electronic music and even dated Tricky and the electro-dance visionary Goldie for a longer time.
But it also felt like the end of the road. Dance music would never be this successful and wildly experimental again. Furthermore, all of the attention Björk received wasn’t always welcome. She had snapped at the airport and famously attacked a reporter. More worryingly, in one of the most bizarre events of public fan worship, Björk had had a stalker who had eventually shot himself before mailing a bomb to the singer.

Review of “Homogenic”
In the Nordic countries, they call it the Polar Night. In Iceland, they refer to it as “mørketid” or “dark period.” If, during the middle of Summer, the days do last forever, during the winter, there is no trace of sunshine for weeks at a time. “Homogenic” feels recorded during and about this period.
If Björk’s previous records had a wild, unapologetic sense of fun about them, “Homogenic” is cold, foreboding. This is not music made by an artist who has suddenly become uncaring but by one hiding feelings underneath layers of, mostly, electronic sounds.
Still, the opening track, “Hunter,” proves Björk is not yet ready to work within a confining formula. “Hunter” blends techno beats with orchestral elements and even traditional Icelandic musical motifs. Meanwhile, in another eye-catching video, Björk could be seen singing about discipline while transforming into a polar bear.
Themes of freedom, confidence, uncertainty, and belief run throughout the album. “Jóga” is another song about Iceland she could mostly dream about while on tour or while living in London. It’s one of the most optimistic-sounding on the entire record. On “Unravel,” the songwriter talks of disintegrating relationships while saxophones and organs blend with electronic beats.
“Bachelorette,” a song about one’s instincts being blunted by living in the city, is the best, most direct representation of the goal of “Homogenic” of mixing heartfelt melodies, strings and electronic beats.

Nordic Ambiental Alt Dance Music
The second half of the album is dedicated mostly to texture and ambience as if Björk herself wants to give the audience a moment of silence for her ideas to truly sink in. “All Neon Like” and “Alarm Call” are highlights of the record.
Where does it all leave us? Unsettled and under the effect of a kind of hypnosis. On the last track, Björk tries to deliver an antidote. “All is Full of Love,” inspired by the Nordic sagas and the warmth of spring spent in Southern Europe, is a song about reinventing and embracing change.
Is “Homogenic” that good? Does it live up to expectations? “Homogenic” is a fascinating record, a series of songs that command complete attention. Never had alternative music delivered a star so willing to experiment with cutting-edge sounds or so unwilling to copy her own work from one album to the other.

The Legacy of “Homogenic”
And while it was marvellously successful, “Homogenic” is still an acquired taste. Unlike the trad guitar bands of the time, Björk does not follow a pattern and her songs are not always inviting.
Finally, while “Homogenic” seemed to predict the sounds of the future, many of the songs are built on jungle, techno and trip-hop beats. Yes, EDM music ultimately became pop. But jungle or drum and bass are largely confined now to documentaries about 90s music. Pop, too, has moved on quickly.
If nothing else, musically and visually, Björk lead by example. She was an Icelandic punk who never shied away from modern sounds and who emphasized her own quirkiness. In a musical world dominated by formulas, this has always felt encouraging.