Life's Too Good

bjork is one of the greatest vocalists of All Time dude. the other guy needs to have some goddamn respect and SHUT THE FUCK UP!!! birthday is great. deus is great. fucking in rhythm and sorrow is great (and the first sugarcubes song i ever heard, when barrett played it on the working week).

YES! YES!!! YES!!!!!! FUCK YES!!!!!!! WOOHOOO!!!!!!! FUCK YEAH!!!!!!!!!!!! LET'S GOOOOOOOOOO!!!!!!!!!!!!! unfortunately to the hood bitches i do like bjoink. unfortunately to the alt bitches i also like the other sugarcubes. im slut for dream pop. first three tracks are an all time run. tracks 6-8 get p damn close. 4.1-4.5. (related but unrelated) blue eyed pop (to quote that one kenan joke during the high school theater sketch) sounds like bragging. (actually related) i unfortunately do love a "this is the hook - bsod" ass track. cowboy isn't technically on the original tracklist but i'm having so much fucking fun i Have to highlight it.

Ok McKay

Good and weird, liked most of it while.not being wowed by originality, particulary in the lyrics

This album without Bjork would not be worth inclusion on here. As soon as she sings everything gets immediately more interesting. Not much happening otherwise.

love bjork, love this one

Enjoyed this one. Didn't pull me in all the way, but had my attention through the whole album.

Omg, it's Bjork!

Not really a fan of Björks solo work, but this one was quite ok.

I didn’t realize Bjork was in a band. She’s got such a good voice. This was a piece that was rather otherworldly in terms of culture. Good pop music. Not sure if I can revisit this if I’m not listening to a “best of bjork” playlist.

There was probably a time when someone would say ‘The Sugarcubes’ and I assumed they were deliberately mocking ‘The Sugababes’ by saying it wrong. Anyway, I’ve come to learn this is where we got our first taste of Björk so I have been looking forward to this one, and it didn’t disappoint - not a lot to say other than I really enjoyed and will return.

I was not previously familiar with the artist or the album. Bjork was in this band before her solo career. This is a pretty decent rock album, and her vocals work surprisingly well. I'm not sure whether this album would make this list without Bjork's involvement given her solo career, but I can appreciate that I probably like this more than her solo material. I suppose I would listen to this again, but probably more for the novelty of Bjork's involvement than for its own merits.

Life's Too Good is tons of whimsical, slightly queasy fun. I wouldn't say The Sugarcubes were especially weird, but they *were* extremely quirky. And there *is* a difference. Caroliner are weird, They Might Be Giants are quirky. This has pop songwriting, playful irreverence, eclectic points of influence, and some punk ethos at the heart of it, quirky fits nicely. Also, very importantly, this has Bjork, who sounds remarkably similar to how she sounds on her later solo records (as opposed to her earlier solo records, they *are* out there). This also has something slightly dreamy about it, which may be the source of the aforementioned queasiness. The sound of this album is pretty raw, all things considered, so some dream pop-isms slipping in just kind of distort things. It's like the album is being viewed through a funhouse mirror. This effect is particularly pronounced on the single Birthday, which couples a subtle moodiness with Bjork's *very* distinct vocals and some "melty" production. Honestly, aside from a couple under-developed moments, this is a really solid tracklist too. Life's Too Good carries it's distinct tone and sound for the entirety of it's brisk runtime. The result is a very enjoyable album and a worthwhile entry into Bjork's *very* high achieving discography.

I’m not keen at all on Björk as a solo artist but this was quite a good listen. Wish she would’ve stuck to this

I think the B-52s comparisons I have seen in a lot of reviews are apt. They sound very angular and not afraid to be discordant, while also willing to be poppier at times. This album is front loaded in that “Motorcrash” and “Birthday” are the obvious stand outs and "Delicious Demon" is also fairly strong. But despite the rest of the album dropping off some after those songs, I found it pretty decent throughout. I prefer Björk’s solo albums because I like the electronic aspects of those records more than the post-punk stylings of this one, but this was not bad. Worth having listened to.

I'm sure these guys don't massively appreciate being solely known as 'Bjork's former band', but that's totally where I'm coming at this from. As a general fan of hers, I'm glad that this project has got me listening to this. So this is fun! It's kind of weird and lively and I had a nice time with it.

Surprisingly good!

Pretty cool

first listen super weird, also took me way too long to realize i was listening to Björk

I quite enjoyed that.

Wow this is so different from björk’s individual work. It’s a lot less polished but still leaning a little experimental which I like. Björk’s voice is amazing as always and also I love the name of the band lol. Anyways this was def better than the average album but I think I subconsciously compared it to later work so it’s not that impressive to me. Very fun though! Fav songs: delicious demon, blue eyed pop, deus

68/100. It is very interesting hearing Björk in a punk band setting where her vocals are much more raw and energetic compared to her later work. For the most part this is a really good record that experiments a lot with different textures and unexpected arrangements. You can hear a lot of creativity in the way they blend jagged guitar riffs with quirky vocal interplay and a heavy bass presence.

The band itself was pretty good, but putting Bjork into anything is like putting bananas in a smoothie

Bjork is trying her hardest to ruin this album, but thankfully the rest of the band offset it.

Almost 5, but then the last few got too weird. High 4s though, bunch of bangers

Not into it. Just kinda yell-y, indistinct lyrics and not particularly fun melodies. Bjork is the lead vocalist of this band, so that’s kinda interesting. They’re Icelandic

Something like a goofy smiley version of the Cure, just not quite as musically outstanding

first DNF. i simply could not fathom the thought of listening to 55 whole minutes of this.

It was fine, couldn't tell you a single standout track but didn't wanna rip my ears off either so a standard 3 star entry.

like thom yorke said bjork voice is so sexual and something else i dont wanna write it

bjork before bjork was bjork but tbh not my thing

Bjork-infused late 80s jangle pop punk. I like it!

Very cool, birthday is a great song. Strong but if byork's catalogue.

the cure from temu, or their boring cousin

Ебаная бьорк

Mycket stön och skrik

I just love baby bjork. I don’t like that people say they’re like the icelandic b-42s bc I hate the b-42s and the sugarcubes have the sauce. but it’s fine. the best song is birthday by far. ten out of ten song

it is at this time that i must confess that i said, out loud in my classroom by myself, "this sounds like bjork" because i did not know that bjork was in this band until i clicked on the wikipedia entry on the review page suddenly it all makes sense this is a good album and i quite liked it and i'm sorry to any music snobs who think i should have known bjork fronted this band please forgive me

As someone with very little Bjork knowledge, this was a treat. I need to learn more

Man, I love Bjork's vocals on this album. Reminds me a lot of the Cocteau Twins' vocals, that style is so infectious. What a great surprise this one was.

Motorcrash is so good. I love the Bjork parts and love the non Bjork parts less.

Ok, quite pleasently surprised with young Bjork's band. This is pretty cool post punkish record, some b-52, some talking heads influences for sure with interesting delivery of Bjork. At least 3 strong stars for sure.

They sounded like REM and Sinead O'Connor joined together. But turns out it was Bjork, which is interesting because I feel like her sound on her own is so different and I would actually enjoy her more if she pulled this sound. Overall it was very late 80's/early 90's. It wasn't amazing or different but it fit in great with that time frame and musical expression of the era.

I have this album in my CD collection and I forgot how much I like it! It's kinda wacky but rocks in some great ways.

For something that wasn't meant to be taken seriously, this is super rockin', and I love how totally weird it is. Very cool to hear what Bjork was doing before she went solo too. So fun!

I have had Birthday on my playlists for years and its a great track. Not really delved deeper than this. Enjoyed the album - especially on repeat playings. When they are new wave / gothy like on Birthday its great - but it has a bad tendency to go all B52 - especially when the guy sings / shouts. I hate the B52's.

Life’s Too Good This is an interesting album, one that really grew on me. I love the contrast of Einar’s deadpan delivery with Bjork, and I like its combination of new wave/alt/gothic with a wry pop sensibility. And there are some great bass lines. Traitor has a Siouxsie and the Banshees atmosphere, but with some added harmonica, whereas Traitor and Delicious Demon have more of B52s new wave feel. Birthday is great too, a great combination of foreboding gothicness with a New Order feel. Those seem to be the main touchstones, sometimes more overtly catchy like Blue Eyed Pop and Deus or sometimes a bit heavier and darker like Coldsweat or Take Some Petrol Darling, which has a slight sense of Station to Station. I wasn’t that into it at first, but I started to really like it on repeat listens, enjoying how it’s influences are clear but come together to make something slightly unusual, especially through an Icelandic lens. 🧊🧊🧊🧊 Playlist submission: Delicious Demon

in a bathtub and made me squeaky clean_ Upbeat pop Björk. The very definition of oxymoron. Whilst it's clearly better for her creative process when she hates life, there's still much to be enjoyed here. The impressive vocal range and forced gargle technique is there, namely on 'Birthday'; as well as showing off her unique vocal, the album hammers home how good of a singer she really is, with an amazing vocal range. A source of potential annoyance is the other fella's clown-like mumblings, especially on something like the otherwise excellent 'Delicious Demon' where his lines fall flat - and Björk singing the same lines are wondrous. Chorused guitar, alternative indie meets college-radio, pop melodies, and bonkers Nordic lyrics. It sounds great on paper, and most of it was interesting. Yet it's missing a certain durability and emotional gut-punch that Björk's solo stuff brings. A very high three.

Life's Too Good is too good for a group's debut. Great songs and fantastic production - even if it does sound quite 80s.

This is just boring.

It was alright

Icelandic versions were sorta odd

Its great, I thought this album was more recent

this was so fun!! the songs are all so crazy and interesting and evocative. some of them reminded me a lot of the B52s which is so funny because I don't think I would've connected Bjork to them in a million years. And despite that, I could also hear so clearly Bjork's quintessential style in its nascent state here, especially in her vocals and the more experimental sensibilities rhythmically. Fav tracks: Motorcrash; Coldsweat; Blue Eyed Pop

Vocally speaking Björk is doing more thant its part, the rest of the album is meh. Favorite songs: Birthday

So Bjork was in this band. Good to know.

I wasn't really into this. Icelandic pop is a unique flavor that I've never acquired. Not terrible, nothing stuck out.

Quirky post-punk and art pop built on jagged guitars, bouncy basslines, off-kilter rhythms, and wildly contrasting vocals feels restless and unpredictable. Listening feels like stepping into a surreal cartoon where moods shift abruptly between playful chaos and eerie tension. Where is the exit again?

Nothing special

That wasn't enjoyable at all.

Sick for toys slaps

Non mi ha davvero entusiasmato Mi è aggradata la voce di lei. Lo salva dalle 2 stelle

Thank you for bjork

This album was really fun and had a lot of energy. It felt like the B-52’s mixed with the cranberries.

This was new to me, apart from Birthday. Good fun - Coldsweat and Blue Eyed Pop were highlights

Towards the top of the 3s. Really enjoyed this

Lovely album, making a note to return to this one.

5 brilliant albums in a row RGP ❤️❤️❤️❤️ - will we ever see this many ⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️s again?

80’s Post Punk ⭐️take some petrol darling

I’m a pretty big Björk fan but have never listened to this which I now immensely regret. This is very different from her solo catalog but still amazing.

Would rate a 3.5 and round up. They’re like Icelandic B-52s.

2/5

A bit too "New Wave" for me, but I appreciate the originality

Birthday is an exceptional song. While I love Bjork, I have never really enjoyed the Sugarcubes. They got that Talking Heads vibe but it just falls short. Rounding up from a 2.5.

Surprised that I liked it. Not a Bjork fan, but this had a few songs I dug.

Surprised that I liked it. Not a Bjork fan, but the music was decent and had a few songs I dug.

7.27/10

Oh hey this vocalist sounds a little bit like Björk that's weird. Oh hey this group's from Iceland, that's a neat coincidence. Oh hey that's literally Björk🧍‍♂️ I love this album. This is what punk is supposed to be. Making fun of pop with non-sense lyrics, loud instruments, and style. Whole tracklist is great too barr the first track and a couple outliers near the end. Middle section is so good. Definitely will be checking more of their stuff out. 5/5

still one of my favs

This is SICK. The B-52s meets punk meets Bjork. That's a combination I never thought I'd hear but I was obsessed with it. Just effortlessly cool and good all the way through. I wish desperately that I could see them live. The album cover art is also one of my favorite album covers ever I believe. Just obsessed with it all. I'm buying it on vinyl as we speak.

A little bit too much noise and too little melody for me.

This was the first time I heard Björk and wow what a voice! Hearing that voice on top of such fun sounding music makes for a good listen. The music is just quirky enough to keep things rolling in an interesting way. Not sure if this would ultimately be essential listening but it is great to hear where Björk came from so it should be heard by anyone interested in her voice.

Björkin paras levy

Chaotic fun

Nice try, hiding more a joke on this list. There a couple good Sugarcubes songs. But not many.

One song. I'm not sure how she's had such a fruitful career.

I can appreciate weird, but this is a bit much no? Many individual parts are good but the whole is mostly cacaphony.

Birthday was a good tune and besides that the album has and echoey jangley sound that gives the world it's first listen to Bjork on vocals.

Such an odd band. They still sound pretty 'out there' all these years later. Although Bjork famously (and wonderfully) lends her loopiness to proceedings, the male vocals score equally highly on the barking mad scale. I think Motorcrash was the first thing I heard by them as a teenager in the 80s, whilst searching for new, unusual music that most people were unaware of. I discovered them around the same time I heard Stump (who most certainly won't be appearing on this list, more's the pity) and I still think they sound great together. I kind of forced myself to like The Sugarcubes as I knew they were the latest indie darlings and I thought that dropping them into conversation would propel me socially into a new and exciting league of interesting, like-minded people. Unfortunately, I didn't really know anyone to have conversations with at the time so it's nice to be able to express my appreciation of them now. Fancy a pint?

When I was in the early stages of listening to what I called Indie (when I think it acutally meant independent) and was stretching my wings to listen to a wide range of music outside of the top 40, Sugarcubes were one of those... what the fuck?? bands which is perhaps why they are on this list? I haven't listened to them for decades and it has held up well. Being older and much less wiser it still has a certain "huh?" about it and I love it. More "indie rock" perhaps than the art thing they or at least Bjork morphed into but it bears up well. I am sure there was a B-side that had one or more of Jesus & Mary Chain on it which sealed the deal of cool for me. Still no idea what they are going on about. But that's fine.

This was a tough listen. Really Yoko Ono-ing at some points with random noises.

great

A dark comedic take on life being too good on the surface. In jangley new-wave. With Björk. I mean it tracks, right?

2 stars. Not for me. Too long and also just not my bag.

I mean I didn't love it but I didn't find it mediocre, it was pretty enjoyable, but I dunno

La primera canción fue la más sobresaliente También fue interesante saber que de acá fue que hizo su debut Bjork a lo que entiendo

Extremely disorienting but I think I kinda dig it.

I am being 100% biased. The sugarcubes are the perfect balance between eccentricity and innocence - with a surprising gothic angle. This album is surprisingly fantastic.

I do like this better than most of Bjork’s solo stuff, but I don’t think that moves the needle too much.

Okay this steadily grew on me throughout. Really fun record. Favourite track was probably Blue Eyed Pop. Accidentally listened to an additional track, Cowboy, sung by one of the dudes in the band it was pretty awesome 3.5

- I'm gonna take a different tack here: Am I crazy to think that this is Bjork's more "experimental" work? Maybe that's in hindsight ..... Anyway, really enjoyed the record and it's one I overlooked the first time around. It reminded me of mid/late period Hawkwind in a weird way. Bjork should get back with a punk band and have some fun ...... -

It's too quirky for its own good. Also it sounds like Bjork. I looked it up, it is Bjork.

Björk elevates some songs with her incredible singing, but when the dude is mumbling over the top of it all, it devolves to the Icelandic b-52's. Shit but with a different accent.

This guy ruined a perfectly fine album and all he had to do was to shut the fuck up and let Björk sing.

It's fun. Björk's style of singing doesn't always work for me but she's on fire here.

An easy 3, the others were holding Björk back. Birthday is a banger and showcases what the future holds

Not for me. Björks voice is phenomenal but that's all that's good here which is shame.

If you drop it in hot coffee will they melt and go away? Please? 1

very good album

another installation of nice but a bit over the top, still lovely, icelanding weirdo music

Bjork carries

Not a bad debut from The Sugarcubes, I remember them (although couldn’t name a single song) from the eighties - kinda Cyndi Lauper-esque. Bjork is skreachy, she went on to be a bigger solo artist than the band. Best song is Blue Eyed Pop, which makes sense since they’re the first (and only) Icelandic alt pop group to make it to the US shores. Life’s Too Good comes in at (3.2*) Life’s both sweet and sour…

Went into this completely cold and as the album progressed I thought this is something Bjork would have been heavily influenced by. When the "Icelandic" tracks at the end came on, more justification. Reading the synops...ok...more than influenced. Life's Too Good isn't too bad. Some sugary coated 80s new wave with a salty center. I like the combo of female lead and creepy Viking guy backing her up. Kinda like a Valhallian B-52s. Top track is "Blue eyed Pop" and the 2 remixes, "Deus" in particular...squeaky clean with some nice strings. "Dragon" went a little too far so this record gets 2.4 stars.

Bjork is another artist whose career and eccentric weirdness related to her music has eclipsed anything she has actually recorded and released for me. While I've been aware of Bjork for 20+ years within pop culture I'm not sure I've ever heard anything from her outside of soundbites and ridiculous impressions outlining her weirdness and quirkiness. I figured she came from an indie band at some point but never would have known it was The Sugarcubes. I definitely get why this made a splash when it released because it does contain a couple decent songs. I agree with the critics in that there something about its unorthodox nature that gives it some appeal. However, the weird quirkiness can only get you so far if you aren't able to back it up with consistency. As decent as some of this is on Life's Too Good, you can definitely get a glimpse how some of the success could lead this to unravel into insane eccentric bullshit just for the sake of being different. I don't know much about Bjork's future music career, but I have been made aware of random clips of her shrieking, cackling and all sorts weird musically-tangential bologna in crazy outfits that lead me to believe I wouldn't be able to stomach her work in anything other than small doses and jokes. As it is, Life's Too Goode is pretty interesting. Parts of the album prove they are capable. I enjoyed the songs that featured both Bjork and Einer alternating the vocals. The music structure was fun and diverse for the most part. However it does feature some of the weirdness and eccentricity that can easily spiral out of control if not handled tactfully. Life's Too Good is a mixed bag, a decent one at that, and I'm glad I had a reason to listen to it even I can't see myself becoming a longtime fan of Sugarcubes and/or Bjork. With some good management they probably could have been reeled in as a successful alt-pop band I may have enjoyed on the sides but they will mostly remain a forgotten overlooked act beyond this listen for me. 2.61 stars

Man, I miss The Sugarcubes. Post-punk Björk was utterly fantastic. For those who like her voice but find her music just a bit too far out there, this is the perfect tonic. You could just as easily call this Björk and the Banshees, and I'm sure Siouxsie was an influence (Banshees guitarist John McGeoch would join them for a song on a later album). If there's a quibble, it's there's a bit too much of Einar's vocalizing, but it doesn't take away from the great music (all the instrumentalists can rip) and Björk's amazing vocals, which are distinctive and versatile. Great album.

So awesome

Ok,

This is Bjork goofing off?! Not meant to be taken seriously?! Wow. That's nuts cuz this is really art punk rock. Can you imagine what Bjork can do when she takes it seriously?

didnt finish

It makes me want a yogurt real bad

5/10

Did I enjoy this? No. Will I try to listen again to revise my opinion? Also no.

One of the joys of this project is being reminded of music that I probably never should have forgotten about. This album was released the year I graduated from high school and was the type of music I loved most at the time. I’m glad to report that it still holds up today. Life is Good is a playful and fun post-punk album that is just experimental enough to remain interesting today. Sure, the album is well served, by the voice of the wonderful “techno elf”, Bjork. However, it is more than that. The instrumentation, while reminiscent of other bands of era like The Cure and B-52s, still manages to create new and interesting sounds. This is a great album; I loved every minute! I listened several times before rating and I enjoyed it more on each listen.

(33:05, 11 tracks, debut, 1988) Icelandic alternative rock Sugarcubes and “Life’s Too Good” were both intentional "sugary" puns on an ironic push back against the nihilism of post-punk, pop “sugar” and Life’s Too Good. Despite never having intended to be taken seriously, and because of the success of their debut and their contractual obligations, the Sugarcubes went on to release two further studio albums. An unexpected success, especially to lead singer Björk, who would launch a successful solo career in 1993. Veterans of Reykjavík's early 1980s rock culture, the band took elements of the post-punk sound intending to create a humorous take on pop music's optimism. Poppy punk infused ‘bouncy’ fun dark cynicism sexy album is my best description. Basically a lot of B52s influence (same dynamic between male and female singers, playful fun) with and Icelandic twist, like if B52 were willing to sing about chilld abuse and naked men commiting suicide 'in your flat'. I first thought "this chick sounds a lot like Bjork, then I looked up the album and found it this chick IS Bjork.) Didn’t think I’d like it but I do. I’m not going to say it’s genre defining but it certainly led to an awareness of Icelandic (and other small nation, ~500k) rock. After the leading single "Birthday" brought The Sugarcubes, especially lead singer Björk, unexpectedly attention of the British music press. Across the following months, the band reluctantly appeared on the covers of the United Kingdom's most prominent pop magazines and experienced "massive hype" which generated a wave of interest from the press and the public. Despite offers by major labels like Warner Bros. and PolyGram, none of these labels were willing to give the Sugarcubes complete creative control, so the band decided to record the album themselves and release it on One Little Indian. "Coldsweat" and "Deus" were issued as singles prior to the album's release at the same time Jesus and Mary Chain's remix of "Birthday" (subtitled the "Christmas Mix") was released as a single in August 1988. 1.) "Traitor" opening track centers on a narrative of extreme punctuality and inevitable fate. The lyrics, primarily delivered by Einar Örn Benediktsson with backing vocals from Björk, explore the irony of a person whose life is defined by being on time, yet who ultimately "fails" at the most critical moment. The narrator claims their "punctuality is well known," but predicts that when a revolution occurs, they will be late and consequently "shot as a traitor". The character expresses a lack of regret, stating "I regret nothing. It was worth it". This suggests a deliberate choice to live without a "timepiece" or "hourglass," prioritizing freedom and the present moment over rigid adherence to societal or political schedules. The final verses describe the narrator "tied to the pillar" and "blindfold at sunrise," hearing the drums of the executioners. There is a sense of peace in this ending, as the narrator smiles knowing they will not see the sunrise, having finally escaped the constraints of time. Notable for its Icelandic version titled "I Want..." (Ég vil...), which carries the same lyrical themes of being late for the revolution and facing execution. 2.) "Motorcrash" followed as the album's final single, a surreal, avant-garde track that explores voyeurism, trauma, and the loss of innocence. The song is told from the perspective of a girl on a bicycle who observes a "proper," "bloody" motorcrash. Einar Örn’s spoken-word sections suggest the girl is not as innocent as she looks, noting her "increased interest" in crashes after getting her bicycle. This implies a fetishistic or morbid curiosity—sometimes compared to J.G. Ballard’s novel Crash. Björk sings about rescuing a mother from the wreckage, taking her home, and "nursing her gently" with milk and biscuits. This highlights a bizarre contrast between the horrific violence of the accident and the domestic, almost childlike care provided afterward. The lyrics conclude with a clandestine act where the witness and the mother "disguise" themselves to return the mother home, further complicating the story with elements of secrecy and hiding. "Cartoonish" Post-Punk: Critics describe the song as "DayGlo horns and rubberneck-y musical-theater," using upbeat, frantic music to mask darker lyrical content. The Sugarcubes often described themselves as a "joke band" or an experiment in "bad taste," using nonsensical or provocative stories to challenge pop music norms. 3.) “Birthday" widely regarded as The Sugarcubes' most famous and controversial track. While it sounds like a whimsical, dream-pop song, its lyrics describe the complex, ambiguous relationship between a five-year-old girl and an older man. Björk has stated the song explores how children can be "erotically influenced" by their surroundings—including older men, trees, or materials—without anything physical actually occurring. Rather than a literal narrative of abuse, Björk intended to capture the "strong feeling" and "unconscious sensuality" of childhood. She wanted to show that anything can affect a child intensely before they have a framework for sexual expression. The lyrics were inspired by Björk's own childhood experiences in Iceland, where she felt more "harmony" with nature and eccentric neighbors than with the "chaotic" adult world. The girl's only friend is a man who lives next door. He is familiar enough with her to know how many freckles she has. The two engage in surreal activities like "smoking cigars," "lying in the bathtub," and the man sewing a bird into her "knickers". Much of the song describes the girl's eccentric hobbies, such as collecting fly wings in a jar or threading worms on a string, emphasizing her role as an imaginative loner. Because of its themes, the song is frequently described as both "beautiful" and "thoroughly disturbing". Critics often compare its thematic intent to Nabokov’s Lolita, noting it probes fundamental human desires through the lens of a child who does not perceive the "interest" of others as perverse 4.) "Delicious Demon" is a high-energy, surrealist track , like much of the band's work, the lyrics are intentionally cryptic and playful, blending mundane imagery with philosophical or nonsensical twists. The song suggests that a person who rejects societal norms or hierarchies—someone who "beats a rock with a stick" instead of following traditional paths—becomes this "delicious demon". This figure is portrayed as someone who remains unbothered while others are "on their knees" or "losing their heads". The lyrics describe a person who "becomes a priest, at least a delicious demon," suggesting a thin or non-existent line between religious sanctity and demonic rebellion. A recurring theme is the relationship between people and resources: "Two men need one money / But one money needs no man". The "delicious demon" appears to be the exception to these cycles of need and dependency. The band's philosophy was rooted in "bad taste" and the idea that "good taste... is the enemy of creativity". The "hee-haw" vocalizations and eccentric delivery by Einar Örn and Björk reinforce the song as a celebratory embrace of the strange. Critics describe the song as a "fun, soaring, colorful romp" that mixes elements of post-punk, jazz, and folk. It is often compared to the work of Devo or The B-52s due to its eccentric energy and dual-vocal interplay. 5.) "Mama," is a visceral and eccentric exploration of maternal longing (a lot of talk about breasts), physical security, and primal comfort. Björk has noted this track as one of her personal favorites from her time with the band. The song begins with the narrator watching a woman walk down the street "with grace". She is described as "big and pretty," projecting a sense of joyful strength and confidence. The lyrics express a deep yearning for a "huge and loving" maternal figure to "crawl upon and cling to". This reflects a search for total security, with the narrator stating, "You can't be safer can't be more secure / Than with a breast in each palm". The song links the comfort of the mother figure to both birth and death, with the line, "That's the way I was born / And that's the way I want to die". This highlights a desire to return to a state of primal, unconditional care. Fans often interpret the song as Björk admiring the maternal strength she either craved in her own upbringing or hoped to embody herself one day. The track is characterized by its breathy, gasping vocals and a "pounding eccentricity" that matches its visceral lyrical content. Critics describe it as "haunting," "demanding," and "precocious," standing out for its raw, rhythmic intensity compared to the band's more pop-oriented hits. 6.) "Coldsweat" explores raw, visceral desire and primal physical sensations. The song is widely interpreted as a depiction of "broiling sensuality" and "threatening sexuality". It uses blunt, animalistic metaphors to describe physical attraction and the act of satisfaction. The lyrics feature striking, almost anatomical metaphors, such as "hot meat," "metallic blood," and "open sweat". This creates a sense of rawness, stripping human connection down to its most basic biological and instinctive level. A recurring line, "I will not finish till I'm fully satisfied," reinforces the theme of relentless, singular focus on physical fulfillment. The term "coldsweat" typically refers to perspiration induced by fear or anxiety rather than heat. In the context of the song, it suggests a state of high-tension arousal that borders on discomfort or overwhelming intensity. The Sugarcubes later reworked the track with a "Western-influenced" sound and renamed it "Hot Meat" for their second album, Here Today, Tomorrow Next Week! (1989). This title change further emphasizes the song's focus on the physical body as an object of desire. 7. "Blue Eyed Pop" is widely considered the initial manifesto of The Sugarcubes. It serves as a satirical commentary on the nature of pop music, the music industry, and the band's own unique place within it. The song was created to make fun of mainstream pop music and what the band called the "Abba-ness" of the industry. It uses a "darkly danceable" rhythm to mock the perceived superficiality of chart-topping hits. In Icelandic, the phrase "blue-eyed" (bláeygur) means being gullible or naive. The title refers to the naive ambition of Icelandic musicians through the decades who believed they could easily break into the global market. The lyrics contrast a "consumer dream" of 1950s U.S. pop culture (hot dogs, twisting) with a wilder, more primal Northern European reality described through metaphors like "tigers dancing" in a hot disco. On a more literal level, the song captures the high-energy anticipation of preparing for a night out in Reykjavík—the thrill of the unknown and the "pure ecstasy" of the moment. The phrase became so synonymous with the Icelandic music scene that "Blue Eyed Pop" was used as the title for Dr. Gunni's definitive book on the history of popular music in Iceland. 8. Deus (Latin for "God") the third single, is a surrealist exploration of divinity, disbelief, and intimate absurdity. The song famously opens with the declaration, "Deus does not exist. But if he does, he lives above me". It playfully challenges traditional religious belief by imagining a God that the narrator only "notices" if he happens to be real. Rather than an abstract or holy figure, God is portrayed with strangely specific, human-like features. Einar Örn describes meeting him and discovering he isn't "white and fluffy" but instead has "sideburns and a quiff" (brushed back hair). The lyrics describe God as a figure who wants to reach and touch the narrator, using eerie physical metaphors like "marzipan fingers" and "marble hands". There is a recurring theme of purity, with God putting the narrator in a bathtub to make them "squeaky clean". The bridge contains a philosophical core: "To create a universe, you must taste the forbidden fruit". This suggests that creation—whether divine or artistic—requires a departure from innocence or a violation of rules. The song is a prime example of the band's "childlike logic," mixing Björk’s melodic, high-pitched chirping with Einar’s eccentric spoken-word interjections 9.) Sick for Toys "Sick for Toys" is a frantic, jazz-inflected track that explores addiction, fixation, and the loss of self-control. While the title sounds innocent, "toys" serves as a metaphor for obsessive desires or potentially substance abuse. The lyrics describe a "disease" or a "hunger" that cannot be satisfied. The narrator describes a state of "pining" and being "feverish," where the obsession becomes so overwhelming that it "eats up" their personality. The recurring line "I want some more" emphasizes an insatiable need. The song is noted for its chaotic, discordant brass and a frantic tempo that mirrors the agitation of a "sick" or "addicted" mind. Björk’s vocals often shift from melodic pleas to stressed, rhythmic barks, emphasizing the desperation of the lyrics. 10.) "Fucking in Rhythm & Sorrow" is an upbeat, skiffle-influenced that presents a surreal and darkly comic encounter with despair and suicidal ideation. Despite its explicit title, the song is less about sex and more about the absurdity of human distress and the necessity of finding power within pain. The lyrics describe a divorced woman returning home to find a naked man in her flat. He is in a state of "existential agony," hurting himself and eventually climbing onto the roof. Rather than reacting with fear or judgment, the woman tries to calm the man down with a bizarrely mundane offering: "naked man, naked man calm down / I'll give you some strawberry cake". This highlights the band’s signature "childlike logic" when facing serious adult problems. The central message of the song is contained in the chorus: "You should use the pain and sorrow / To fill you up with power / Life's both sweet and sour". It encourages the listener to transform negative emotions into a source of energy rather than letting them lead to apathy or destruction. 11.) Take Some Petrol Darling final, hidden track a short, avant-garde piece that serves as a surrealist, nihilistic coda to the record. The core Icelandic lyric, "Taktu bensín elskan / Það er allt bannað hvort sem er" translates to "Take some petrol, darling / Everything is forbidden anyway". This reflects the band's "Bad Taste" philosophy—a rebellious embrace of things that are dangerous, nonsensical, or in "poor taste" because societal rules feel arbitrary. The lyrics mention the "barometer falling into yellow sand," suggesting a sense of atmospheric pressure and an approaching, strange storm. The song is often viewed as a "joke" or an "afterthought," appearing after nearly 20 seconds of silence following the final listed track. It reinforces the band's reputation for being "king clowns" and "tricksters" who didn't take the traditional structures of a rock album seriously. Like many of their tracks, the meaning is less about a linear story and more about a mood of playful anarchy. The suggestion to "take some petrol" is an absurd, impractical command that fits the band's persona of elfin, unpredictable subversion. On the original vinyl and CD releases, the track was not listed on the sleeve. Tthe Icelandic art collective Smekkleysa (Bad Taste) t gave birth to their rebellious "Life's Too Good" Philosophy. The album's title and overall theme—that even in the face of "sorrow" and "sour" moments. Paul White of Me Company designed the artwork for Life's Too Good. The figures depicted in the artwork are derivations of a signature he had which consisted of a character "made up of just a face, legs and a [cock and pussy]” White stuck to using flat-color backgrounds; this discipline was born out of the need to keep printing costs as low as possible, and had previously been followed for the sleeve designs of the "Birthday" and "Coldsweat" singles. The album was issued in various color schemes, including green, yellow, blue and pink. Life's Too Good was released to largely positive reviews, receiving acclaim from the British and American press. Steven Wells gave the album an unconventional score of fifty out of ten, awarding ten points each for "cheekiness", "naughtiness", "sexiness", "silliness" and "scariness". Life's Too Good is credited as the first Icelandic album "of its breed" to have a worldwide impact. The singular universe that is the Icelandic music scene, the album "[generated] a larger interest towards the country’s popular and alternative music scenes alike." Rising international acts such as Savages and Florence and the Machine. Nowadays it’s cited as an important cult classic. The album helped in regarding the Sugarcubes as "the biggest rock band to emerge from Iceland." Favorite tracks: Birthday and Delicious Demon All tracks are written by the Sugarcubes. 1. "Traitor" 3:08 2. "Motorcrash" 2:23 3. "Birthday" 3:59 4. "Delicious Demon" 2:43 5. "Mama" 2:56 6. "Coldsweat" 3:15 7. "Blue Eyed Pop" 2:38 8. "Deus" 4:07 9. "Sick for Toys" 3:15 10. "Fucking in Rhythm & Sorrow" 3:14 11. "Take Some Petrol Darling" (hidden track) 1:27 Total length: 33:05 Life's Too Good – US CD bonus tracks No. Title Length 12. "Cowboy" 3:27 13. "I Want..." 2:55 14. "Dragon" (Icelandic) 3:07 15. "Cat" (Icelandic) 2:56 16. "Coldsweat" (Remix) 3:42 17. "Deus" (Remix) 6:03 Total length: 54:52 The Sugarcubes Björk Guðmundsdóttir – vocals, keyboard Einar Örn Benediktsson – vocals, trumpet Þór Eldon – guitar Bragi Ólafsson – bass Sigtryggur Baldursson – drums

Went into this completely blind, unfamiliar with the band or their music. The opening track snuck up on me and drove steadily upward. I was thinking "I like the female singer's vocals," and then on track 2, "Wait a minute!" I appreciate that Icelandic musicians are on this list. Unlike other albums from past decades, this one held up better to my 2026 ears. So much of it is what you'd expect, with many of the musical conventions of this time and genre present. The composition, relentless drums, the cheesy monologuing thing, it's mostly unsurprising. Except there's Bjork shouting about "delicious demons" over cowbell, and it's clear no one is supposed to be taking this seriously. I love a good satire. It's a fun listen.

Great album. Also, never try running to Björk. It'll feel like you're in slow motion.

wyf

Decent/a little hit and miss. Flirted with a 4. Never in danger of a 2. 6/10 seems fair.

Lyrics were dogshit in places. Musically it's OK in places, and annoying on other places.

Idiosyncratic

Enjoyed it. 3.5 rounded up

As others have noted: Comes from an alternative universe where the B52s were an Icelandic band withb Björk at the helm. If they got as popular in that universe as the actual B52s did in our universe, that alternate one must be one weird MC Escher-esque universe that none of us would be able to stay sane in for more than 5 minutes.

Its like the B-52's, the Go-Go's and Bjork were all in one band - that I don't wanna listen too, but respect.

C'était vraiment très bien ! Je ne savais pas que Björk était dans un groupe avant sa carrière solo ! En tout cas, The Sugarcubes est un groupe plein d'un humour, qui fait de la musique pleine d'énergie. Vraiment rafraîchissant !

I liked this album a lot. Really odd and weird but in a fun, well executed way.

kinda reminds me of a mix of the cure and the cranberries and I'm really into it

I remember seeing them on SNL in '88 and wondering WTF I had just watched/heard. I consistently forget how great the bass is on Birthday.

It's a nice enough 80s pop album, the most distinguishing aspect being Bjork's vocals.

I had no idea what I was getting into with this album and with the very first song I almost just stopped but I'm so glad I finished until the end. This is a great album. My rating of it just continued to increase the further I got into it so a solid four stars with this one, like see myself going back to this again and again. I never really listened to Bjork before but I'm so glad that I have now. Good stuff. Four stars.

Nie jestem obiektywna, bo kocham głos Bjork, ale to jest naprawdę dobra płyta. Dość nowatorska, nowoczesna, ciekawa. Po prostu inna. No i ten wokal. Powinni go butelkować. 8/10

It's fun but I'm not sure I'd call it a great album. Feels experimental without being truly radical.

More accessible than Bjork's solo stuff but maybe not as catchy?!?

I'm becoming quite a Bjork fan! A pretty good album

Loved it, Bjork’s killer vocals combined really nicely with the more traditional post punk monotone of the male vocalist, the songs were varied and constantly interesting. Great album

Beautiful weirdness. 4.5

"Oh my god and Jesus as well" Not as good as Bjork's solo work, but still a very fun album that foreshadows a promising career from this Icelandic freak. Favorite song: Deus 3.5/5

Punk Bjork, call her Pjork

not sure what to think of Bjork to this day, don't quite get the hype.

Great debut from Icelandic pioneers

Debut album. Alt Rock / Post Punk. The Post Punk band that had Bjork as the lead singer before she went solo. As such this album is the suitably bonkers journey you'd expect. The album is short, sharp and great fun. A really good album. Birthday is a brilliant track. Bjork is an absolute treasure.

"motorcrash" is incredibly goofy but that's fr how it feels to be a cyclist. welcome bjork to the war on cars. anyway, i've actually listened to very little bjork somehow, but she's the standout here to me. she's just fun to listen to. even in the tracks like "birthday" which lyrically are !?!?!?, her range and flair are really enjoyable. the other guy's vocals? no offense to him but the comparison is not favorable to him. musically this feels pretty standard late 80s alt rock with a bit of an abrasive edge that works well for bjork's voice, so even if this album wasn't even meant to be a major artistic statement from the band, i think it holds up alright. enjoyable, if uneven. key takeaway is that i guess i need to listen to bjork more.

It's definitely not as good as her solo work, but that's not to say its not good at all. Bjork on a less experimental album sounds downright odd, but it works. That's not to say this album is devoid of interesting sounds or being out there, "sick for Toys" for instance sounds pretty unique to me. The lyrics are... mostly weak, but beautifully sung as expected. The B-52s comparison everyone mentions in the reviews is very apt, but I do feel like there's a slightly harsher tone from the post-punk inspiration that differentiates them. I really liked the opening song "Traitor" as well as "birthday", but a lot of this album kinda just washed over me. Especially because I am not really a fan of the second singer and think they detract from a few songs.

3.5

This album answers the timeless and important musical question “what if Bjork had been a member of the B-52s?”

It's okay. I am learning that early Electronica isn't my favorite genre. It's a fine album, but not my cup of tea.

"That sounds an awful lot like Björk...?". It was. Interesting to hear her in a different setting than I'm used to. More indie and rock than whatever the type of music she makes would be labeled as. Speaking of which, Björk and her singing is clearly the rockstar of this album. The album sounds quite 80s at times, but her voice feels timeless. Neither a fan nor hater of her usually, I was surprised by how much I enjoyed that part here. The least enjoyable parts was when some of the dudes did the main vocals as some sort of spoke word act, as in 'Sick For Toys', and 'Delicious Demon'. I enjoyed this record overall and found a new appreciation for Björk. The songs were varied and interesting. Definitely worth a spot on the list in my opinion. A 4 feels a bit generous, so strong 3 will have to do.

What stood out to me the most was the ugly album art and the female vocals. I realised later that it was Björk singing. I’m not the biggest fan of Björk, but her vocals were really cool. The same, sadly, can’t be said for the male lead. At times, it felt like listening to The Pixies. “Toys in the Attic” especially reminded me of “Debaser.” Pretty cool album. Mid 3.

It's the first time I have listened to Björk's pre-solo work and I liked this album a lot, it's more dream pop and also more accessible than her solo work. I liked its general atmosphere and that it didn't overstay its welcome with barely 34 minutes.

Buen sonido, voz impecable (obvio). Aceptable, recomendado

The Sugarcubes are genuinely a super underrated band. I get it, their music is completely overshadowed by Björk's solo career, which is indisputably leagues ahead. But this is still a really solid post-punk record. You still have Björk on lead vocals, and some really dynamic, fun, and unique instrumentation. It manages to blend the typical 80s post-punk with a much more quirky sound which leaves this album being a genuinely really unique experience. The almost Cure like guitar playing sounds weirdly good mixed in with a much more light hearted vibe, and the lyrics are also great fun to read along to. I'll admit, this is nowhere near as good or as groundbreaking as most of Björk's solo material, but just taking this album for what it is, I still absolutely love it and think it deserves way more attention than it gets.

Like others have said, the Sugarcubes are very much in the same vein as the B-52s. It’s interesting hearing Bjork in this context as this music is less experimental than her solo work, though it still has an edge. Overall a very good post-punk album. 3.5⭐️

3-4 but I probably won’t listen again

I love some of the tracks off this album, obviously Birthday is amazing as well as Motorcrash, Mama, and Coldsweat. There are moments that work less, or don’t have the magic of those tracks to me, it’s not a perfect album (maybe a 4.5 realistically) but I’m feeling generous about it today so 5!

Solid

Preferred Bjork’s solo work afterwards. Decent but nothing grabbed me for a second listen

In like Bork. This gets a 3 ✨

Bjork's voice is incredible. The album has great energy. It oddly reminds me a bit of the B52's. But the lyrics, overall aren't that interesting. Take, for example "sick for toys" --it has a kind of punk styling but the core lyrics just come across as flat--no politics, no angst. Flat. A good album to have the list. It has some solid moments.

Well that was odd. Reminiscent of B52 but just so European. Folksy/Rockabilly/Punk elements. Not bad...just odd

An interesting listen. Some of these tracks are quite fun, especially on the first half. And Bjork’s vocals on this are amazing at times. Let down by a few tracks that don’t hold up as well, but I enjoyed this.

Oh my god and Jesus as well… always happy to listen to Björk doing. Well. Whatever it is she’s doing

3.5

3.5

I really have a mixed review on this album. I really like the Björk songs, but most of the Einar songs didn't do much for me. Highlights are "Birthday" & "Cold Sweat" (7.62) ★★★½

Björk is a good singer, but I hat the male voice and the music is kind of bland to me. 2.5 stars

3.5/5

Not too high on this. "Birthday" is pretty cool, and "Mama" and "Deus" are solid tunes, but overall, I a lot of the syles here don't really work for me. And while Bjork is a talented singer, the other guy sounds like Mike Myers' Dieter from the Sprockets SNL sketch. Light 3 stars.

3.5

If I was Dougal from The Magic Roundabout then I should be all over this album because it is well known that Dougal The Dog cannot resist a good sugarcube or two. Unfortunately there is just a high touch of rancidity to this particular sugarlump batch. Bjork who is pre-mega breakthrough solo career here is already a bit of a growly goddess of rock/indie/altpop/whatever, certainly worth snuffling some extra sugar from but there is another lead vocalist here who is really rotten and seems to have his own mission to turn the group into the crappest version of the B-52s. I’ve heard of being a Ringo or a Bez or indeed even a Fred Schneider but I certainly never want to be an Einar of any group. Fortunately there are enough cool songs anyway despite his presence and the album is only 33 minutes so it’s short and sweet as well as skank.

I like Bjork but never bothered listening to her earlier stuff with the Sugarcubes. So a welcome reminder to do so. Bit underwhelming to be honest. Music of its time and for the late 80’s a lot different to what was about then. May have appreciated more then but missed it. Not missing it now though. It’s Bjork though so that escapes it getting lower star rating. 3/5 12/2/26

very interesting album in bjorks discography

Somehow, Bjork with guitars is even weirder than Bjork with beeps and boops.

Nah not for me

I just don’t get Björk, and whoever the other bloke is drops this even further. The kind of album that I was happy to have ended.

This list has too much Bjork. I cringed at the first two tracks and had to quit listening.

Malo como ninguno :)

I dig it! 7/10

Enjoyed this little beauty, I bought “Birthday as. 7” single” when it came out, loved the 1980s alternative dance stuff

This album is quite a trip, every song gave a different vibe. But much enjoyed! Saved one song, might come back to this album.

Apparently four f**king Björk solo albums weren't enough.

I really enjoyed this, it was so much fun to hear early Björk. At times I could have done without the male singer; his parts were either humorous or incredibly annoying with no in between. The music was very fun and unique.

A little weird, but overall not too bad

I'm surprised at how much I enjoyed this.

super weird kind of new wave band, kind of alt rocky. Interesting hearing bjork with this kind of instrumentation

Björk twice in one week is not what I asked for, but it’s not unwelcome. There are peeks at what her solo sound would be, but it’s twinged with a taste of B-52s, Icelandic style.

Here's an interesting one. The Sugarcubes were a decently successful alt-rock band to come out of Iceland in the late 80s. Of course, the success that the Sugarcubes experienced pales in comparison to the later success that its lead vocalist would experience starting in the 90s. What was her name again? Bjonk or something like that? For real though, it is super neat to hear what Björk was doing prior to the release of Debut. Was she doing good things? Yeah, I'd say so. Not as great as some of the albums that would come during her solo career, obviously, but still quite good. It's definitely a different vibe, with Life's Too Good being a straight-up alt-rock album as opposed to the experimental pop of Björk's solo albums. Of course, Björk's vocals are just as great as ever. I don't think that's a surprise. But what about the rest of the Sugarcubes? They exist too, you know? They're good! The instrumental parts are mostly cool. It has this sort of dream-pop/post-punk thing going on and it's neat. There is also a second vocalist, Einar Örn Benediktsson. I don't like his vocals as much as Björk's vocals, I'm sorry. The songs are kinda weird, but in a good way. "Birthday" is the album's biggest hit, and it is not the kind of song you'd think would be a hit. It's a little creepy even, especially in the lyrical department. Oh yeah, the writing is alright too. I don't think anything in this album is perfect (other than Björk's vocals probably), but nothing's bad either. It's an interesting listen that I respect, but I also don't really love it as much as maybe I would've wanted to. It's got some good parts though. High 3/5.

The Bjorkiest band that ever Bjorked

I own this album, I brought this CD when I was like 15. I am already fully on The Sugarcubes/Björk train and was so excited to see it today. I love that this band went out to make a pop record, but with punk sensibilities. It's weird and absolutely put Icelandic music on the map.

I don't like the vocal and music too noisy for me.

This album can't be rated, at least by me. Did I enjoy listening to it? No, not really. Do I think it's interesting? Yeah, I do. Will I listen to it again? Probably not. Did I pull out any tracks for playlists? Yeah, but it's my bday songs playlist. So I guess 3 stars. I did have the thought "Oh that sounds like Bjork." And then I read up on and felt accomplished but a little silly.

Wasn’t really a fan of this one. Couldn’t get into it

I like this more than some of Bjork's solo albums. This thing is much more conventionally alt rock, or punk and it's easy to see why Bjork was able to blast onto the scene. She stands out as the most interesting part of the music. The songwriting and instrumentation is quality and Bjork brings it to life. This is a fabulous debut.

It’s definitely proto Bjork, and it’s interesting to hear her first works before she got big. I wouldn’t say it’s that great of a listen for the majority of it but I did like “Traitor” and “Mama” in general I found it a bit too goofy to take seriously, particularly the male singer’s contributions. I think the majority of the songs in a major key sounded a bit ridiculous but thats just my taste.

Meh

You know something is a treat when there's like 18 genres attached to it

Omg I LUV it

Just as delightfully bonkers as it was almost 40 years ago(!?!)

Bjork arrived fully formed

Bjork's band - interesting but only ok. 3 out-of 5 stars.

This record has some serious peaks that caught me off guard. The good moments are genuinely excellent and stand out from the rest of the pack. It feels like a foundational indie textbook with a few wild chapters thrown in. There is a specific kind of charm in how unpolished it feels at times. A very respectable listen that lands right in the sweet spot. Spins: 1 Playlist Additions - Motorcrash - Birthday - Deus - Fucking in Rhythm & Sorrow

THIS IS MY FIRST GIG, IN IRELAND AAAAAAAAAAAAA Top notch album, I liked how Bjork has the ability to sing normally.

The Sugarcubes brand of alt rock looks to 80's post-punk, as well as the brighter, poppier tendencies of alt rock that would come to definition the 90's. Every song Bjork is the lead vocalist on is elevated by her presence. I understand entirely why she went solo. Highlights: "Birthday"

This was awful. I had to force myself to get thru it. Just nothing I liked.

classic indie

Olihan tää ihan mukiin menevää soitantaa ja laulantaa mutta ei kyllä neloseen yllä

Björkin omaleimainen laulanta on aina mielenkiintoista kuunneltavaa, mutta ei nämä biisit vielä ihan täysin kolahtanut.

Ei jutut, joissa Jörkka esiintyy oo koskaan olleet mitään kauheen suuria suosikkeja. Laulutulkinta lähtee aina sen verran poikkitaiteellisiin sfääreihin, että homma tuntuu enempi harkitulta koristelulta kuin rohkeelta tulkinnalta. Tätä kuunnellessa meinasin eka heltyä, että ihan raikkaita ideoita jne, mutta sitten se laulun loilotus rupes vaan veisusta toiseen tuleen yli muusta menosta. Totuus lienee että tää vois olla vitkunkin levy, jos antas mahista ja huuattas vaan raivolla. Siihen emme ryhdy vaan annamme kakkosen puhua.

Heh. Luulin että tää on sitä ysärin tyttöpoppia, niin kävi ihan rehelliset Mietaat kun eka biisi alkoi. Sitten tajusin että sehän olikin Sugarbabes ja tää oli se Björkin pändi. Tosi paljon parempaa omaan korvaan kun Björkin soolotuotanto! En siis ikinä ollut kuullut yhtään biisiä tältä bändiltä aikaisemmin. Ihan kivaa vaihtoehtomusaa, ja varmastikin tulee palattua tähän vielä myöhemmin! Mukavasti keskenään erilaisia biisejä, niin pysyy mielenkiinto korkealla. Motorcrashista tuli jotenkin tosi vahvasti tässäkin setissä jo ollut Paul Simonin Graceland-levy mieleen.

Bring on the Bjork

I was fully expecting to hate this. Post punk with eye shattering album art. Conceptually, later on, it all kinda works. It's a satire, it's poking fun at the evolution of the genre at the moment, catching on to double standards and calling them out. It makes sense it'd present itself as an exaggeration of happy colors with stick figures sporting genitals. As someone who doesn't necessarily love the genres they're poking fun at, I ended up really enjoying this. I think they went beyond what radio had to offer, just a bit. Fun for an occasional listen, and I don't doubt some of the melodies will be showing up in my brain in the near future. It was fun listening to those early Björk vocals. 3.3/5

Sugar cubes- so cool to hear Bjork in such a different context. She’s so good- this was fun to listen to. I could do without the spoken word yelling guy. I was thinking I was definitely gonna give a 5 until Cowboy, it lost me a bit there.

This was a fun listen. Apparently this wasnt intended to be taken seriously and but it was so successful that they made several followup records and it kickstarted bjorks whole career. I had never heard of this band or album before

This is so much work for a joke. But I love the idea. The opening song is brilliant and I love she wants new toys. Good for them.

It had late 70s/ early 80s art rock vibes and I enjoyed it

Better than expected by the horrible cover. 3 5

I’d never heard of The Sugarcubes before I started this project, but I’m very curious to see what this album is like. Björk’s solo albums were an incredibly mixed bag with me (a 2, a 3, a 4, and 5-star), so I really have no idea whether I’m going to love or hate this album. I do tend to enjoy post-punk music though, so here’s hoping this album turns out to be pretty sweet! Overall, I thought Life’s Too Good was fine. This album had a solid post-punk sound that reminded me a lot of The The. However, unlike The The, I didn’t think The Sugarcubes’ melodies were all that memorable. There might one element on a song that stood out, like the guitars or the synthesizers, but it was pretty rare that everything really came together to create something truly unique or special. The one thing that I consistently enjoyed on this album was Björk’s vocals, but unfortunately, I can’t say the same for Einar’s singing parts. I don’t know if he was intentionally going for the Fred Schneider sound, but his vocals just didn’t work for me. “Traitor,” “Birthday,” “Delicious Demon,” and “Deus” were my favorite songs on the album, mostly due to their guitar playing. Life’s Too Good was a fun album to experience one time, but I could take or leave this album.

Didn’t get it, don’t want to.

Mal mi je nezapomljiv ampak drgac dobr

Interesting, but a bit too out there for my taste. The female vocalist has an amazing vocal range. The guy ruined it for me.

weird as hell. idk how else to describe it. definitely different, but no thanks.

This was alright. Wasn’t like every song was my favorite, but I enjoyed the listen. Young Björk fronting the band, it’s very interesting. I definitely see why Birthday is the song people glom onto.

Pretty great actually. Would give it 3.5 stars if allowed, but not 4. I would absolutely listen to this record again, but probably wouldn’t seek it out. Still, it reminds me of an Icelandic version of The Pixies, and you can’t go wrong with that. Maybe I will listen to it again on purpose…

Just love it! Great band, but Bjork just takes it to a new level. She’s an amazing musician!

Björk

Bjork before she got into recording cat torture. Better than any of her solo albums but honestly it's generic 80s "College radio" fare. According to several write ups this wasn't meant to be taken all that seriously and if listened to with that mindset it's perfectly okay.

Ugh.

Talking Heads mixed with the B-52s, add Bjork. Pretty good listen really. I like this less than Bjork's first few solo albums, but like it more than her more experimental later solo records.

Am I glad this LP is here to provide some context for Björk’s four Book Albums? Sure. Is it a must-listen in isolation? Absolutely not. Highlights: Delicious Demon, F**king in Rhythm and Sorrow

She has an amazing voice. He sounds like the devil

Shocked by how much I liked this. Blue eyed pop was probably my strongest track, but there were no songs that I thought stood out as being poor. This is a strong 4.

Oh yeah that’s some Bjork.

Mind blown - never heard Bjork outside her solo work. This was pretty wild, and not as bad as I expected for the most part. 3*

I love Björk's vocals.

post punk sound with otherworldly vocal stylings of bjork. this was amazing. highlights: “birthday” “mama” “coldsweat”

“Is that…..is that Björk? Oh yeah, she was in a band before her solo stuff.”

Really great album! Gives really strong Cure vibes, and Bjork's vocals are absolutely powerful and ethereal. As someone who only knows a bit of her work, I'm excited to get more into it.

It was fun to listen to Björk, not knowing to begin with that I was listening to Björk! I'm giving it 3 because I enjoy her solo album better.

Odd, silly, fun. I expected nothing less. Probably wouldn't seek it out for my collection, but I enjoyed listening.

I liked it. Slightly more rock oriented than I thought it would be. Overall good record

I have always struggled to define what Bjork's style is. With the Sugarcubes it is a little bit easier to define. The feel of this album is a mixture of cool/hip punk. The Sugarcubes don't sound like they are going to spit on you. But Einar Om Benediktsson's vocals are, in places, quite in your face. And as you would expect, Bjork's vocals are wailing and mildly unhinged sounding. There is some off kilter violin and some very The Cure sounding bass in Birthday. Motorcrash and F***ing in rhythm & sorrow have a decidedly rockabilly feel. But I think that I enjoyed Deus the most from this album. Because I like the idea that God, with sideburns and a quiff. might put me in a bath and clean me, really clean. (3.659)

Люблю Бьорк

“Life’s both sweet and sour!” I got an embarrassingly long way through this before I realised the lead singer was Björk. Once I did my instinct that I much preferred the female vocals to the male ones made total sense. The instrumentation is a little hit and miss at times but the songs I enjoyed were very fun. The less enjoyable parts were largely courtesy of the over the top vocal theatrics which is just a personal preference on my part and not necessarily a blanket indicator of quality. A mostly fun and interesting set of songs that made me intrigued to explore Björk’s solo catalogue.

gostei. me lembrou muito bjork aí eu pensei impossível uma coisa lembrar tanto a outra e não de fato SER. e era mesmo.

eu adorei!! fresh & dark ao mesmo tempo, afinal de contas life's both sweet and sour. super jovem. eu amo as apresentações da björk no início da carreira mas não imaginava que esse álbum fosse tão legal, achei uma jóia post-punk. no skips, nenhuma me irritou. favs: motorcrash e delicious demon

it's not my cup of tea, mas adoro como esse álbum se equilibra (e às vezes se desequilibra) entre um pós-punk orientado a guitarra e o new wave, meio b-52s-meio art-pop. birthday é O ponto alto, mas tem outras músicas interessantes. sobretudo, amo o efeito que ele gerou (bjork como estrela mundial e islândia se tornando uma potência da música alternativa)

Bjork was the only person who seemed to shine in the band , as a whole the album was a. Bit disappointing , a bit too left field for me just didn’t understand what was going on musically what kind of noise they were going for was like hearing bitchman biggins banging his tits against a radiator

I never knew Bjork had a band in the late 80s is my first thought on this! Mixing really nice and wide, dreamy chorus bass similar to the smiths actually. Bjorks high vocals sit nicely just on top of everything. Definitely a young album listening to the lyrical content and song titles, for sure influenced by some new wavey bands with the reverberated guitar drums and chorus on the bass. Blue eyed pop got an interesting bass line with the deep slides at the start, cool jam but the lyrics really let it down in my opinion.. Deus is an annoying track, not a fan of that one The band are decent but the album as a whole is nothing groundbreaking to me except for the fact it introduced the world to Bjork. Now, if it were one of her albums in its place maybe I would understand but I don't brink this is an album you have to listen to before you die at all.

OK, so Bjork was firstly in a band huh....well there ya go! Perhaps it's the fact that Bjork is in a band rather than solo, but this feels somewhat more structured than I was expecting based on (only) hearing her solo stuff - don't get me wrong.....its absolutely still batshit crazy in parts though. The bloke who does the spoken-word stuff needs to hand over the mic and take a seat. I'd be happy to listen to the album in its entirety from time to time. 3.5 stars

oh bjork we’re really in it now

Huge red flag in the beginning - the first song was super quiet, so I tried making it louder, thinking that there's no way this could be a bait, and then 22 seconds in, the music got so loud. The album itself is a bit meh, where there is music and there is someone playing, but it's not necessarily great-sounding, if I have to be entirely honest. I think that this would be alright in a low-budget slow-motion scene in a movie, where someone is being chased.

Really love this version of Bjork

A wonderfully odd little record, the result of what happens when you shove every trope of 80s alternative and see what comes out. Sounds most like The B52s on hallucinogenics or The Cocteau Twins on a comedown. I kind of love it

bangarz

Very unenjoyable album, lots of jibberish and trying to seem weird for the sake of seeming weird.

Ironic lyrics with serious voices. The female voice reminds me of Riot Grrrl

I never heard of this, or even was aware Bjork was with a band other than her solo career. It’s definitely different, and props for that. Not something I return to but it’s not terrible. 2.5/5

I can appreciate weird, odd, quirky, strange, and at times borderline bonkers. This album definitely fits all those descriptions and I remember it being passed around on campus. I even occasionally spun Birthday and Motorcrash on my program as a college DJ. But as unique as it was, I just never could quite get into these guys, nor take them too seriously. Which in the end, was the band’s goal apparently.

Surprised to find out I knew one of these songs (guess I always thought it was a Bjork tune). I liked this, definitely more than I thought I would. Not sure I’d rush back, but not bad

Man, love it or hate it, there is something really interesting about Bjork’s voice and approach. She’s hit or miss for me but I actually really liked it with this accompaniment. With that said, I could very much do without the B-52s sounding dude. I guess that takes it to the goofy, joke realm. Still a good 3 for me.

Funny they made the album as a joke, people liked it, so they made a couple more. Anyways, I was into this for the first few tracks and then it fell off for me. Rounding down. 2.5/5

Pretty good, still

Wow. I really enjoyed this. I think Birthday will be on repeat for a while. I was dubious approaching this one having never heard any of their albums before and finding a lot of Björk's solo stuff a bit inaccessible but I thought this was brilliant start to finish.

¡Qué pequeña joyita totalmente infravalorada! Para mí esto es un álbum soberbio, un diamante en bruto de post-punk indie, una mezcla de Talking Heads y The B-52’s donde sobresale la voz de Björk siendo ya Björk y sin la cual el proyecto se viene abajo. Es tanta la presencia de su voz en el álbum que no creo que con otra cantante The Sugarcubes hubiesen tenido el más mínimo éxito. Póntelo un par de veces que apenas dura media horita, y a disfrutar!

Favorite Track: Motorcrash

I think this album is fun. I like the vocalist and I think the style is cool. It’s kinda like upbeat indie/alternative rock. I think the instrumentals are pretty cool and I like the dreamy background vocals.

Never heard before— weird album. I loved it.

Reminded me of the band that sings love shack

Cool to learn that Björk was in a band before her solo career.

Life is too good, especially when given this gem of an album. One of my favorites, and always happy for an excuse to listen to it again.

honestly, i never knew Bjork had a career prior to her solo work, and i dig this so much more than her later stuff. all of her solo stuff is undeniably cool and well crafted but it's always felt pretty abrasive and unapproachable to me, more like a piece of fine art you appreciate but don't necessarily "like." this is much more of a daily driver for me. is it super groundbreaking or artistic? not necessarily, but it still has enough funky flourishes and weird stylistic seasoning to keep it interesting, and the tradeoff is that it's much more listenable, and lives up to the promise of her vocal talent much more to me than her solo work

When I was 19 I worked at a local record store. The employees would put their names in to get free swag - including albums and cassettes. I was fortunate to get this cassette. I fell in love with Bjork’s voice and quirkiness. I typically like very rhythmic and predictable tempos. This album is not that but Bjorks vocals are so good and mesmerizing it didn’t matter. I know this group put out another couple of albums, but it was not until her solo works that she took the limelight by the coconuts.

5 stars for Björk, Björk, Björk!

Such a bizarre mix of 80s styles. Got some B-52s-ish stuff, got some goth-alt like The Cure, got some New Wave. And all with Björk being Björk (which is glorious). This is a 5-star album that loses a point because Icelandic Fred Schneider couldn't/wouldn't shut up. 4 stars.

Icelandic alternative, Bjork, B52s Delicious demon Birthday Deus icelandic

not really my style

This is very cool - Björk is just awesome

2.526

Kanske Björks bästa platta. Minnet när den kom våren 1988 är fastetsat. Tid, plats, sammanhang... Solklar femma

5/10

I started listening to this album and thought "wow, it's very similar to bjork, why did they make it so similar". Later I got it...It's actually bjork in the band🤦‍♂ Not trash and not great. It's okay 2/5 —————————————— No liked songs

This is their best lp. Birthday is especially special with its postpunky guitar and Bjorkisms.

I loved this album as a teen. Of course I loved Bjork first, then discovered the Sugar Cubes record crate digging at a vinyl fair. Holds up! Rating this classic 4/5. Wish I still owned that vinyl…download will have to do.

hmm ich glaube ich mag Björk einfach nicht so gerne, zu exaltiert arty, trotzdem gut und sofort erkennt man sie als einzigartig... c

Was this included on this list as a joke? What is this garbage? Oh, it's because Björk is in it. To be honest, I could have done without knowing her origin story.

Familiar with this since ‘89

fun!

Weird

++: Motorcrash, Delicious Demon, Blue Eyed Pop, Fucking in Rhythm & Sorrow +: Traitor, Birthday, Mama, Sick for Toys, Take Some Petrol Darling +-: Coldsweat, Deus 6,3/10

Björk's vocal is instantly recognisable and shines through the mix, despite all the other high-pitched noises. The percussionist in particular is clearly a fan of high frequencies. Crash and cymbal are used a lot. Combine that with lots of high synths and clear, airy vocals and you have a distinctly "Iceland" feel. Seriously – there are very few famous Icelandic artists from the 20th century (the Sugarcubes are one of about four) and they all share this distinctive, clear, icy (ha) sound. The vocals hit their peak with the very strong trio Birthday / Delicious Demon / Mama, though Delicious Demon is also one of several songs to feature those weird, hesitant, melody-less male vocals. I'm not a fan of them. They're most prominent in the opener, Traitor, making it one of the album's weakest links. Gorgeous self-harmonising in Blue Eyed Pop, leading into the second peak of the album with the surprisingly groovy Deus. Reminds me a bit of if the Talking Heads had a (very) different singer. F***ing in Rhythm and Sorrow is the last particularly good track, but it's only good because it's weird as heck. It's like a Björk cover of the Marble Blast Gold (2003) soundtrack. The lyrics are about as goofy as you'd expect from a young post-punk-era band. "An awful motorcrash / Dangerous motorcrash / Terribly bloody motorcrash / Destructive motorcrash / Oh oh oh" "I'm walking humbly down a tiny street / Pulling my collar, it gets bigger, woo" "Naked man, naked man calm down / I'll give you some strawberry cake" "One plays the harp, beats a rock with a stick / Becomes a priest at least, a delicious demon / Least, a delicious demon / Hee-haw, hee-haw" (These aren't cherry-picked songs. I picked four at random.) 3/5 Key tracks: Motorcrash, Cold Sweat, Deus

Not for me.

Where has this album been all my life. I adore everything about this album. Sonically it’s so unique and weird, and totally original not just for its time but still to this day, nothing really sounds like this. In fact this album gives me a ton of appreciation for bjork. Like I’ve always liked her, but some of her stuff doesn’t click with me, for example the Vulnicura album I didn't give a great review for. But wow this is amazing, like the way the instrumentals work with her vocals and the other male vocals are just *chef’s kiss*. It’s also really silly and wild which I really love cause the album has amazing creative energy. Honestly this is probably one of the best albums I’ve discovered from this list, if not the literal best!