For starters, "Homogenic" is the complete opposite of the Euro-friendly, house-filled "Debut," which found Bjork bringing fire on the dancefloor at four in the morning. Instead, we find her as the hunter, looking for the next kill, or as the screaming numbed soul excusing herself for being about to explode. Complete with wavy beats and minimalist industrial crunch fading in and out throughout the whole album, this is a difficult heart-renching listen that's filled with everything that is Bjork: beauty, love, despair, loneliness, and finally defeat with hope.

The minimalist beginning of "Hunter" sets the mode to the album, which is a stark, echoing jurney through emotion and time, while "Joga," being one of the album's stand-outs, is as vivid as the cold Icelandic landscape where she comes from.

Despite the hopeful yet ultimately longing "Bachelorette," the mood the album still doesn't change, with the tempo of the electronics and Bjork's singing still in sour modes. It changes briefly in the awakening "Alarm Call," which shows the mood change briefly into a barrage of Zen ("I'm no fucking Buddhist, but this is enlightenment").

It doesn't last for long, on the other hand, with the full frontal assault of "Pluto," a numbing song where Bjork finally releases every bit of anger she's been holding onto throughout the album and releases it onto the listener. Yet the album ends peacefully on "All is Full of Love," where still, despite all that's happened, there is still hope for love somewhere out there, even if it's not in her heart for the moment.

By all means, "Homogenic" is a difficult album to get into. It's assured that the first few listenings to it will leave you saying to yourself, "Why did I even get this?" But with time, let it grow on you. Bjork's like a tasty French wine: She gets better with age.


A stunning album - but it takes time to really enjoy it.   December 24, 1999
Adam Carroll
37 out of 40 found this review helpful

The first time I listened to Homogenic, I was a little disappointed. I missed the eclectic sounds of Bjork's previous album, Post. To me Homogenic 'all sounded the same'. Then I listened a few more times, and it was only then that I really heard and appreciated the music. Now I consider it to be Bjork's best yet.

A strange but effective mixture of hard techno beats and string octet performances is the 10 song backdrop for Bjork's unique voice. The album starts with 'Hunter', a searching, determined track. It moves through songs of loneliness, desire, and passion. Track 9, Pluto, is the album's intense climax. The sheer energy in this track is astonishing (and you simply cannot turn the volume up enough, in my opinion). Homogenic closes with the soft, peaceful 'All Is Full Of Love', a song so beautiful it brought tears to my eyes.

You don't have this album? What are you still reading this for? Go out and experience it for yourself - I promise you won't be disappointed.


Prepare To Be Shocked By The True Genius Of Bjork   February 14, 2004
Busy Body (London, England)
20 out of 20 found this review helpful

Take a close look at the cover of Bjork's "Homogenic." Go on, do it. What you'll notice are outrageous alien-like hair buns, long silver finger nails, an elongated neck, slit-like eyes, tight skin, microscopic lips and an oversized kimono wrapped around the genius. It's almost scary in a wonderful way, representing a cold and distant Bjork at the time of the album's release. Bjork has created totally new genres of music that were unheard of until she hit the block big time back in 1993 with her debut album "Debut." This concept was taken further with 1995's "Post" as the acclaim and praise continued to overwhelm her. However, Bjork's shining creativity and musical genius cannot be seen better in any of her records more so than in Homogenic.

Released in 1997, Homogenic was Bjork's third studio album and saw the artist in a tumultuous state of mind. She was angry at certain people in her life, and this is reflected in the harsh and primal nature of this album. Homogenic is the kind of album that you will not like straight away, but need to give a few listens before you can truly appreciate it. The same can be said for probably most of Bjork's music, but you don't get as much satisfaction after persisting with them than you do in Homogenic.

"Hunter" opens the album in magnificent style. With supersonic beats sliding all over the arrangement and gentle sighing, it's clear from the first few seconds that this is a manic and eccentric song. The paranoid drums and aching violins work in excellent contrast with Bjork's soft vocals. She begins by singing, "If travel is searching, and home what's been found. I'm not stopping, I'm going hunting. I'm the hunter. I'll bring back the goods, but I don't know when." She sounds here like a wild animal, searching for food in the middle of the night. The lyrics here are so primal and out of control it's unreal. "Joga" manages to succeed in being one of Bjork's greatest ever songs. An old Russian violin opens the song in a depressing tone, before Bjork starts singing. The verses and choruses rise and fall to the actual sounds of Iceland's volcanoes, which Bjork recorded especially for this album. It's amazing - you get all this fresh and natural music on one song, instead of manufactured garbage. As the fourth minute approaches, Bjork starts wailing as her voice echoes before singing, "Emergency...Is where I want to be." Then she starts giggling, as if in awe of the masterpiece she's just created. Genius.

"Unravel" is one of the most heartbreaking songs of Bjork's career and a definite album highlight here. She sings a song of lost love, "While you are away my heart comes undone. Slowly unravels in a ball of yarn. The Devil collects it with a grin. Our love in a ball of yarn. He'll never return it. So when you come back we will have to make new love." Bjork's voice is so packed with emotion and this leads perfectly into the album's true masterpiece, "Bachelorette." This is easily the finest song that Bjork has ever had the pleasure to record. Beginning off with a simple violin, it spirals down and the song begins with a grand piano playing in the song. The majestic beats work so well with Bjork's euphoric voice and the strings that come in after two minutes are just complete genius overload. "All Neon Like" has a strong thumping beat like a heartbeat all the way through. The lyrics are amazing, and the way Bjork totally evolves human art into music can be seen here.

"5 Years" has an interesting beginning with a synthesizer, before beats that sound like stomping feet gradually come to the forefront. Bjork's voice is brilliantly careless and she seems a little angry and vengeful. "Immature" seems to be a little bit of relief from the last two tracks which are completely alien and strange. The song starts off with Bjork humming to her own tune, before she scolds herself for being so immature. She questions her actions and offers her most simplistic answer, "How extremely lazy of me!" "Alarm Call" is one of the more mainstream tracks on the album. It works well with the rest of the songs, however. The beat on this song is just pure joy as Bjork sings about how she wants to go on a mountain-top with a radio and good batteries and play a joyous tune. Then there's the harsh realism when she sings, "I'm no f**king Buddhist, but this is enlightenment!"

"Pluto" is the song that follows and is definitely the most challenging song Bjork has ever recorded. This song has so much energy that it could finish you off for good - the racing beat and grating rhythm is forced into Bjork's angry vocals as she sings, "Excuse me but I just have to explode. Explode this body off me." She then starts screaming at the top of her voice around the second minute, grunting, groaning, wailing, shrieking and crying her way through her torture and pain. It's unlike anything I've ever heard, and you know what? I like it. This works as a complete juxtaposition with the album's final track, "All Is Full Of Love." It finally starts after 30 seconds with some swirling strings. Bjork's voice goes from left to right on this song, and her lyrics are so emotional it will bring a tear to anyone's eyes.

OVERALL GRADE: 10/10

Homogenic is my favourite Bjork album because of the way she presents herself on this album. She just opens herself up and isn't afraid to experiment. There are only 10 songs on this album, but Bjork likes to keep things short and sweet and in this case it most definitely works. If you own Bjork's first two albums but not this one and are planning on buying it, be prepared for a shock! This is Bjork's most inaccessible album of her career. It's hard, frigid and primal on the outside, but if you can break the shell, on the inside you'll find your place at home with the warmth and emotion that Bjork conveys in every single song here.


An Ecstatic Homecoming   December 9, 2004
C. Heath (Seattle, WA USA)
9 out of 9 found this review helpful

After two very eclectic albums filled with experiments in sound and vocals, Bjork bounced back with this perfect gem, `Homogenic'. The saying `third times the charm' is entirely true; this is the first Bjork album with a definitive musical style, which carries throughout. Gone are the upbeat techno beats of `Debut' and the flair of `Post'. `Homogenic' is very dark, raw, powerful and completely timeless. Touching on universal issues of life, love, revelations and hurt, Bjork delves deeper than ever before. Again, Bjork is experimenting, but it's obvious she feels at home here. The music is very creative; it's like she took her native hymns and songs and added techno beats. It's very modern, and lovely.

This is probably my favorite Bjork album as a whole. All of them are wonderful, but `Homogenic' seems to flow the best. There are light moments, but they are few and far between. Get ready for a whole lot of pain and power to get thrown at you; Bjork's voice is gorgeous as she sings, growls and teases with enthusiasm.

Hunter: At first, I wasn't excited about this. But after a while, this track seems to grow on you. Subtly aggressive, Bjork sings as if she's searching for answers, and she won't give up until she finds them. I'm always inspired to push myself more after hearing this. The drum rolls give the song a marching feel filled with persistence, and the constant `ooohs' and `ahhhs' are enchanting. One of Bjork's best lyrics is in this song: `I thought I could organize freedom, how Scandinavian of me'. I admire Bjork's courage to throw an accordion in, and the organization of this song is fantastic! (5/5)

Joga: The first time I heard this song, I was completely blown away. It opens with a gorgeous string arrangement, joined by Bjork's tender vocals (yes, she actually sings sweeter here). Later, warped drumbeats join the warm strings. The lyrical arrangement here is spectacular; it's wonderful to sing! I'm not entirely sure what this song is about. Regardless, it subtly rips your heart out hearing it (which is, as all true Bjork fans know, an awesome feeling with her music). The end is one of her most beautiful moments; her vocals fade out into what seems like another dimension of floating music. The strings begin to echo beyond all boundaries of time and space and her Icelandic vocals soar. The time signature changes in the chorus are innovative and impressive. (6/5) <- this is valid for Bjork songs :)

Unravel: I was captivated while listening to this. Bjork is waiting for her lover to return, and while she's waiting, she's going through a whole range of emotions, perfectly portrayed here. The soft saxophones and gentle drumbeats are spellbinding, and the playful electronic piano slides add a hint of optimism. Toward the end, a church organ takes over the chord progressions. This song almost brings me to tears: it's like Bjork is reaching out with all the strength she has left to get her love back. This is simply fantastic! (6/5)

Bachelorette: The power here is breathtaking! Right off the bat, the song opens with soaring strings (clearly her main instrument of choice on this album) and a demanding drumbeat. I absolutely love the piano; it's not often she uses it in any of her work, and it's a nice arrangement here. The lyrics are phenomenal and thought provoking. Amazingly, it took me a few listens to really enjoy this song, but I have grown to adore it. It's almost joyfully depressing, which of course doesn't make sense, but this is Bjork, so it works (and Bjork fans know what exactly what I mean). (6/5)

All Neon Like: I've been trying to decipher this song for weeks now. My thought is that it's about being born. It's very odd, very drawn out and altogether gorgeous. The glossy chords make me think of a room full of glass. It's very melodic and dreamlike. There isn't much to this song musically; the glass-like echoes, a simple beat and several electronic blips. Bjork creates the effect of random explosions well here (which she strives to do for the whole album). (5/5)

5 Years: Okay, several other listeners haven't been too impressed with this. I can't seem to get enough of it! It's completely catchy, and it just hooks you. The playful chords, the syncopated beats (just awesome here!) and the heavenly strings which come in later; it's divine! Bjork's vocals are filled with so much aggression and power. Every time she sings the refrain, she pours out more emotion and drama. Whether or not she overdid it here doesn't matter; this is a fantastic song! It's a real stress reducer in a way, and makes you feel like you've got the power in a relationship. The strings build higher and higher until the end, and it's just breathtaking. (6/5)

Immature: `5 Years' ends abruptly, and right away this takes over. It's very seductive in a way, warm and quiet. Once in a while, Bjork belts out some very clear notes, adding emotional flavor. Similar to `Unravel', there's an echoing chord sound that glides through the whole song, which I just can't describe. It's very captivating! This is a revelation for Bjork; she's realized how silly she was to think a guy could change her world. It's so typical of most of us, and I think she portrays it beautifully here. (5/5)

Alarm Call: I love it, I love it! This reminds me of some of Bjork's older tunes; it's very danceable, it has an infectious beat, and it's definitely the most upbeat and positive song on the album. There's almost a jazzy feel here, and it's very enjoyable. The baseline in particular is real fun! Throughout the song, you hear the recording of Bjork singing `it doesn't scare me at all'. She's trying to save the world with music, and I love that idea. This is a very likable song, and probably the most accessible on `Homogenic': it would appeal to a wide range of listeners. The `beep, beeps' toward the end are so awesome! I just love the catchiness here! (6/5)

Pluto: I won't lie; you have to be in a particular mood to like this song. I love it sometimes, and can't stand it other times. It's very much an electronic tune; it doesn't have any melodies in it to speak of, and it's a whole lot of noise. Regardless, it's the climax of the album. It's like all of Bjork's emotions have been amplified ten times and played back with a ton of distortion. Her lyrics `I just have to explode now' fit perfectly. She does a lot of screaming here, so if you can't stand loud yelling, you might want to skip this. I get a spooky feeling listening to this; it's like I'm being watched or something. It's a neat sensation, as all emotions are when listening to Bjork. (4/5)

All Is Full Of Love: This is one of Bjork's best songs ever! I can't stress that enough. Though the video version is much better than this, there's a charm and a lightheartedness here that is profound and absolutely stunning. What makes this song so fantastic is it's like the sun after a rainstorm: after `Pluto' it's nice to have such a beautiful tune playing. With no percussion, amplified gentle sweep effects, a gorgeous sitar and a playful clarinet, this song puts you in a trance. This is one of the most sensual songs I've ever heard by any artist (although the video version is much more sensual than this). It just makes you feel affectionate, warm, fuzzy and lovable! (6/5)

This is the most complete collection of songs Bjork ever put together. What's disappointing is that there are only 10 tracks on the album. That's my one complaint. I would have loved to hear more of Bjork's rendition of Icelandic-techno-pop. She outdid herself in every possible way as an artist here. Though the songs are more often than not heartbreaking and pessimistic, there's an incredible amount of hope. I adore this album! Bjork's emotional conviction is best displayed here. If you have any of her other albums and you find them enjoyable, I highly recommend this! However, beware: this album is very unique, and if you haven't heard any Bjork before, this probably isn't the best choice to ease into her style (`Post' is the perfect Bjork beginner's album). But, if you're adventurous and just waiting for something awesome and powerful to enter your ears, you might as well get `Homogenic'.


Bjorkophilic   April 6, 2003
bhangonoveloctresidom (SF, CA)
9 out of 9 found this review helpful

If someone put a gun to my head and said, "You can only keep one Icelander in a cage to sing songs for you on command - who do you pick?" Well, duh, I mean c'mon! Homogenic lands in my top fifty Bjork albums of all time, and she looks creepy on the cover, like that chick with all the detachable heads in "Return to Oz", or (if you squint your eyes) that rat in "Sorceror's Apprentice". 43:35.