Debut

Björk grabs your hand and says “Follow me”. She leads you through The City (which city? Any city. All cities), pausing here and there, at house parties, city gardens, rooftops, office blocks, to show you the essence of that place. She takes you into a closet and whispers into your ear, there’s more to life than this. Every place she shows you has its own unique sound, but the guide is always indisputably Björk; writhing and shapeshifting and impossible to pin down, but in the act of taking you on this tour of The City, you realise through the sights she’s shown you, the things she’s pointed out, that she’s revealed more of herself than any direct confessional would give you.

Fell in love with Bjork when I first saw the Michel Gondry video for "Human Behavior" on MTV when I was 13 years old. She is a true artist who is practically a genre of her own. She bravely follows her eccentric vision wherever it leads her. I have nothing but respect for her and nearly everything she does. Some of the sounds on this album are a bit dated now but man this shit was cutting edge at the time. This is just the tip of the iceberg in terms of her sonic explorations. Listen to the live version of this album to see a radical reinterpretation of these songs and the true capabilities of her songwriting.

So this is just straight-up as good as everyone says it is. Björk's voice is iconic, of course, but I'd never listened to a full project and therefore had never heard the pure range. I don't mind albums that veer all over the place, style-wise, but it's usually a rather personal enjoyment. The transitions between songs here are just objectively good, even when they are between crooning and live-recorded club tracks.

Brilliant. Can’t think of many better DEBUTS

For those who weren't there at the time, it's a little difficult describing how fresh and simply "out there" Björk's *Debut* felt when it came out in 1993. The difficulty is twofold: first, even though the former Sugarcube member drew heavily on the budding UK dance and electro scene for her early sonic explorations, that idiosyncratic voice of hers and its oh-so-Icelandic mannerisms were so powerful, so unique, that they could transcend any of the clichés picked out of her toy box to build the different soundscapes of her first solo effort. It's a voice everyone is familiar with now, whether you're a fan or not. But *at the time*, it was just something unheard of, even if you were a little aware of the Sugarcubes somehow. And it didn't even matter if some discrete parts of this first album already sounded somewhat *dated*, perhaps willingly, as with those tongue-in-cheek UK-club-scene inspired titles such as "Crying", "Big Time Sensuality" or "Violently Happy"--not to mention that naked cover of the cheesy Broadway novelty standard "Like Someone In Love", with only a simple harp to support Björk's extravagant ad-libs recorded in one take (small blunders included). The sheer originality of that voice, its harmonic instincts, along with its crystal-clear, youthful, Lolitaesque timbre--all of this could break through any wall, champagne glass or heart in the close vicinity. And just as importantly, that voice could sell any sort of music it chose as a backdrop, as long as the latter was decently written. So, in a way, it didn't really matter who Björk made this album with, even though Nellee Hooper did an excellent job co-writing half of the tunes and arranging all of them--his production chops here fortunately drawing more from an overall Massive Attack-level of quality than any of that hackneyed stuff he was responsible for in Soul II Soul. The Sugarcubes had just been a training run for Björk. Now she was embracing a promising future, being free to choose her collaborators as she saw fit for whatever was on her mind. Speaking of the future... The *other* difficulty when it comes to a retrospective take of *Debut* is to try to ignore everything that came after so as to assess it on its own terms. It's a near-impossible task. *Post*, *Homogenic* and *Vespertine* were genres of their own, the moments Björk burned her ships behind her for good so as to never turn back (if one of those albums is missing in this list of 1001 albums, it's just a crime). Those records are so striking and wonderful that *Debut* is a litlle pale in comparison, as flashy and eccentric as it first looked when it came out. Still, a large taste of the good things to come is still present in this record, and, unsurprisingly, those songs are the ones holding out better today. "Human Behaviour" is a quirky existential hit, as if Björk was a toddler playing with a Swiss clock, winding and rewinding it until the right joyful noise comes out. And I could listen to that bouncy timbal-sort-of-sound pattern for years, just as I could listen to Talvin Singh's lush, strings-and-tabla arrangements in "Venus As A Boy" for decades. This deceptively simple and tender song about an androgynous lover, one of Björk's greatest tunes, indeed marks a turning point where, for the first time ever, maybe, so-called "world music" was not used as a conceptual gimmick, but as a fresh, spontaneous impulse to fully embrace the sounds of this small blue planet, as varied as those sounds are. Björk is truly the first "global" artist to ever become a superstar. And more than any PR plan or conceptual blurb attached to what she was doing, this philosophy was translated into the music first and foremost.  For all its minor shortcomings, *Debut* is actually a very rare case in music history, one where an artist manages to push the enveloppe while still retaining their spontanity. The results of this rare combination are both playful and organic. "One Day", for instance, expertly uses a William Orbit style of ambient techno to paint the picture of an elated, wide-eyed messiah dreaming about a hopeful future. The song *is* naive, there's no arguing about that. And yet, it never makes you want to snarl or smirk, so enticing it is. Utopia is in our hands, you just need to believe in it. As for "Aeroplanes" and "The Anchor Song", they channel decades of jazz flourishes into their fabric and turn them into mere children's games, as easy on the ear as they are evocative on the mind. "The Anchor Song", in particular, is a miniature masterpiece, its barebones horn section displaying a minimalistic poetry that is all more fitting given the subject matter: Björk can only feel at home while bathing in an ocean, a paradox for many, but not for the romantic she is at heart. Maybe for certain cynical types out there, this sounds a trifle like a Sublime101 course. But it's a lesson the Icelandic songwriter will refine again and again in the future, starting with "Hyperballad" on the next record. It all starts there, with this track. And even before that, *Debut* remains a fountain of youth and potentialities, even today. *Here* is the deep lesson that makes the album an essential listen for both young and old souls of this world. Births, beginnings, eclosions, take-offs--you name them--have rarely felt any better than on this one. [Number of albums left to review or just listen to: 989 Number of albums from the list I find relevant enough to be mandatory listens: 4 (including this one) Albums from the list I *might* include in mine later on: 5 Albums from the list I will certainly *not* include in mine (as I think many others are more important): 3]

This feels completely unique, which is one of the best qualities an album can have. The range of influences is so wide there's bits of pop, electronica and jazz. Some of the tracks are avant-garde ballards and some sound like house tracks written by poncey art students. All the different elements are all linked by Björk's really distinctive voice, which provides a nice consistency to the album. I can see some people turned off by her vocals but once I got used to them I found them very enjoyable. I will listen to this again.

She bust her pussy trying to belt out some of these songs. Fair play to her, I bet she's still bleeding. I know I am.

I love her. She connects with me on a visceral level, beyond what can be put in words. So raw and honest. Comforted me when I was having a major crisis, and though it’s a long time past, the connection lingers. Just so grateful for what she gifts to the world

Truly what separates Björk from the pack is her haunting vocal quality and endless soundscapes. It feels comfortably Claustrophobic in the way the most people talk about space.

What an unbelievable energy right from the start and boy does it carry through the album. It's hard to believe this album came out in 1993; it holds up incredibly well. That's due in equal parts to Bjork's voice, the wonderful instrumentals, and the interesting variety between songs.

I adore this album. I've never heard anything like it; it was so different and probably the only taste breaker I've listened to that I actually enjoyed. Bjork is able to fuse genres like nobody's business and make something entirely new: something of the Bjork genre. As an album, this record flows beautifully, with a perfect slow song to end this wild trip. Bjork!

Classic, but Post is better. Human behaviour bops!

I know Bjork is idolised but to me this is an extended play of irritating noise that's akin to nails on a blackboard

Wow. This album is so, so good!!! I grew up thinking Bjork was some weirdo (and she is!) but appreciate the artistry and new sounds so much more now! This one is going into my rotation.

On this album you’ll find: - Escapism - Vivid songwriting - A huge amount of originality - Beautiful vocal performances - Elements of house music One of my favorites.

Easily one of my top 50 albums. The quirkiness and uniqueness of Björk has always set them apart from other artists. Been a fan of this album from the very first listen.

Gosh dang do I love this. Each song is so well crafted and incorporates different aspects of electronica, jazz, hip-hop, and world music. Such a interesting and entertaining listen. 9/10

I've always been a fan of Björk. Not a huge one, but I loved Post as a teen, and later Medúlla and Vespertine. How genius is There's More To Life Than This where the music cuts out? So, so cool. I obviously already knew Human Behaviour and Venus As A Boy, but this whole record is great and each song stands up on its own merit. Favourite tracks: Human Behaviour, Venus As A Boy, Aeroplane, The Anchor Song, Play Dead.

So flipping good. Brought me back to my student days. I’d forgotten how great every song on this album is.

Compared to the Bjork album 1001 sent us, this one jumps around a lot more. There are quite a few house tracks, which surprised me, I guess I had dropped out of the club scene pre-93. Anyway, I think they've held up well. Bringing in Oliver Reed to do the saxophone arrangements on Aeroplane and the Anchor Song was very brave - and refreshing, as I was tiring of the electro beats by the end of the album. The jazz-standard cover, on the other hand, demonstrates that her voice works best with her own (weird) material. Speaking of her own material, Venus as a Boy is just an epic track - the production, her voice and lyrics come together perfectly. Human Behaviour is up there too. A great debut.

What an incredible debut from a totally unique and groundbreaking artist. There was never anything like Bjork before, and there will never be another Bjork

Fairly significant problems with tempo and a too-frequent langourous drift that fails to deepen mood the longer it goes undermine the themes of empowerment and big time sensuality. But I was pleasantly surprised by the sense of wholeness and frequently tickled by witty musical punctuation drawn from an ambitious range of instruments. So while I don't doubt her intelligence concerning human behaviour, I'm less convinced by her ability to turn it into music that fully engages me in between the puctuation. Makes sense that it's on the list though. No quibbles from me.

Some superb backing tracks separated by screechy nonsense, largely about going for a swim.

Don't really understand Bjork's music - just experimental, really weird stuff. And no, she does not have a great voice, she's just the artsy chick in class that paints and is into horses. 3/10.

yes

Great album, still holds up today in my opinion

A great debut, but quite a bit outshined by her other works

Ailishin pilli.. Hehehe... Billy.. vai... Hehheh.... Billy ailiiishi... hehehe 1990-luvun, vuoden 3.. 1993.... billi.... Hehhe.. EI OLE EI OLE! EI OLE AILISH BILLY!!! BJÖRK grrrr! ääni tosi hyvä monessa biisisssä!! tyttöpoika!!!! Tomboy!!!! hyvä björk sano grr!!! Ei.. ei ole totta.. Björk on herkkä.. kullannuppu.. MUTTA PASKAA MUSIIKKIA MISSÄÄN EI OLE MITÄÄN SYVYYTTÄ RANDOM SOITATUSTA KOKO HARAKAN TUOTANTO!!! Toisaalta 1903.. ei ollu ennen kuultu tällästä sillon.... Aika uus juttu Eräs henkilö kuvaili albumia tällä sanalla: "Lolitaesque-timbre" jonka ensimmäine sana (se sana joka ei tarkota suomeksi sointiväriä) tarkoittaa Precociously sexually alluring Precociously tarkoittaa: (of a child) having developed certain abilities or proclivities at an earlier age than usual. Jos piilottelet björkin kuuntelemistasi olet kaappipedo. Jos et, olet avoin asian suhteen. Hehe. Ei naurata. Oikeestan noiden sanojen jälkeen ymmärrän tän albumin paremmin. Oli kiva että oli erilaisia biisejä... hehe samaahan ei jaksa toistamiseen pötköttää kallon ääni keskukseen uudestaan..... Niikun blind tsännel... hehe... Radiosta kalloon koputtaa.. en avaa.. saatanalle ovea.. Human behavior alussa islantilainen aksentti tyttölauleskelee.. "Theres more to life than this.." siisti sirrytää toiseen tilaan.. björk puhuu.. taas kuuntelijalle.. Milk barissa basso pömpyttää harmonisilla taajuuksilla enemmän kuin missö niiden pitäis pömpyttää.. aritistisena keinona toimiva.. HAUSKA! Violently happy paras biisi, kaikki mikä björkissä on kivaa on kivan pop pömpötyksen takana eikä oo nii artistinen, vaan björk nöpön ääni paistattelee islanti aksentillaan..kannattaakohan suomalaisen täältä.. ralli........... Vika biisihkö liian artistinen meikäkorvaan.. ei ihan nappaa.. Björk tyyline lopetus.. peppi pitkätossu tulee mieleen.. tyttö tehny.. Kolme mietin kuuntelemisen jäkivaiheessa.. vaikka ekojen biisien jälkeen.. nelostakin.. olis voinu jopa.. olisin halunnu uskoa.. EI VAIHDETA sitä kolmos juttua nyt jälkijöpinöillä... Se numero tulee tunnetilasta jonka albumi, ei biisit saivat aikaan. Tämä tuotti 3/5 arvosta. Upea teos. Mutta myös paskaa!

People pretend to like this for clout

I just couldn't get behind this to be honest, and I really wanted to like it. It was just too much noise, not enough music.

WHYYYY?!?!? I am really questioning Robert Dimery and has judgment of music. How can Harry Belfonte not be on this entire list. The artist left off for this utter crap is beyond my comprehension. BORK is a joke. The Prodigy is a joke. Blur having three albums on the list is a joke and a crime. His Wiki page said that he worked at Time Out and Vogue. He is from the Untied Kingdom and doesn't have any known musical talent. This book needs a massive overhaul.

please stop giving me Bjork albums

I thought I hated Björk. Nope. I loved this and want to listen to more.

Unapologetically inventive.

Not the best Bjork album, but god I love her.

My mind is confused about whether to love or hate her. The album's chaotic and appealing at the same time. It's entirely unique, it's hard to think of any other so distinctive debuts.

björk is like one of those quirky weird artsy girls except her work in engulfed in sincerity. This could have easily gone the route of pretentiousness rather quick. On paper, this probably IS pretentious. And yet, björk delivers an otherworldly gateway with one foot grounded in our reality, like some sort of musical demigod. As someone who is sensitive to certain vocal styles and pitches, her singing doesn't always work for me. There's at least one song on the album that I appreciate much more as a work of art than a piece of entertainment. The music she's working with should not be understated, either. If anything, she weaves her voice between arrangements that perfectly match it. Tracks like Big Time Sensuality and Human Behavior lift her voice with groovy riffs, while others, like Venus is a Boy and Come to Me gently nudge you through an alien landscape. This is a phenomenal debut album that will stick in your head.

Otherworldly.

I mean, who doesn't love Human Behaviour and Big Time Sensuality? There's no one quite like Bjork. Sonically this album is amazing, her voice and presence is amazing and it's always a great listen on a high-quality sound system.

Debut by name, great debut by nature. Bjork is fantastically bonkers and her voice is unique. This album is chock full of belters.

I’ve always wondered if I would like Bjork, if I listened to her. I think her reputation had preceded her and I assumed I wouldn’t. I was pleasantly surprised, it’s well produced dance music for the most part, but heartfelt and sincere. A little abstract but good music.

As soon as I hit play on Bjork’s Debut album, I fell in love with “Human Behaviour,” a hit-song in which her adorable, yet mighty voice hovers flawlessly over a hypnotic, war-like rhythm. The way she paints walls of gibberish vocals throughout the track is also vaguely reminiscent of Elizabeth Fraser’s (Cocteau Twins) signature singing style. The rest of the album is mostly dance/techno music that I found to be average aside from “Venus as a Boy” and “Like Someone in Love,” which we’re more memorable, having more gentle, verdant compositions. I also noticed that the stringed instrument at 0:50 of “Venus as a Boy” has some Indian influence in the way it is played, which may be the reason for my attraction to the song. Dance is one of my least favorite art forms. However, dance music–especially songs similar to the ones found on this album–I do not mind every now and then. I went into this album not knowing what to expect and came out wanting to be friends with Bjork.

When a former punk decides to make art pop with light techno influences. In her debut, she's still becoming familiar with electronic arrangements, and so sounds a bit of its time, but these are still beautiful emotional pieces. Most people can either love or hate her voice, and I'm a member of the former. It's expressive, knowing when to be peaceful or eery, matching the background electronic scenery, and in a lot of ways she uses her voice as an instrument just like one of my favorite artists Elizabeth Fraser of the Cocteau Twins. There's a lot of shocking avant-garde choices, some obvious as in "There's More to Life" but others subtle all throughout that make her songs stand out and a bit unpredictable. I don't consider them gimmicks. The beautiful harp of "Like Someone in Love" is something I could listen to over and over, and I don't even like New Age music. Some tracks rely a bit too heavily on the techno, which I believe sets back even the stronger tracks, but unfortunately making some of the weaker tracks like "Big Time Sensuality" or "Violently Happy" somewhat forgettable. But overall, there's something interesting in each of the arrangements to keep me engaged for the full 50 minutes. In comparison to her other albums, this one is the least cohesive and most dated as she still tries to move on from punk into her own sound. They don't flow very well, but with so many interesting picks, it doesn't matter too much for the intentions of this album. Looking at it from the perspective of its time, it's a mind-blowing change of place from the predictable pop and techno scenes. Favorites: Crying, Venus as a Boy, One Day, Aeroplane, Come to Me

Know it. Love it. Nice to listen to it twice yesterday!

The app claims the day to day selection is random and this weekend's two albums validate this as we moved from Ice-T's Original Gangster on Saturday to Björk's Debut on Sunday. I had my 8 year old twins so could spin OG only when they were on another floor. Of course one quietly returned and said "Hey Dad: Why did they say O.G? Those are my initials." My initial response: "You're not an every day type prankster. You're O.G. The original gangster." I then dove to stop the playback before the next "motherfucker" lit up the lyrics. On Sunday, as if the angels made a special delivery, Bjork arrives for my two cherubs and me. Her voice is soothing. Intra-album genre hopping sometimes drives me nuts but on this album it works. I can't say too much about the lyrics since, except when they were simple, they were hard to understand. That actually is a harp on "Like Someone in Love" It's not often that I say "harp" and don't mean harmonica. The tabla playing, courtesy of Talvin Singh in the last minute of Come to Me, is a nice touch. Thanks to 1001 for half the weekend's selections. Enjoying music has a lot to do with what you're in the mood for, so I might have rated Bjork higher than I would next weekend.

Wtf why is Bjork so Bjorky

This is a lesson in why you shouldn't read the less favourable reviews of an album before diving in. Perhaps becuase we are predisposed to focus on the less positive aspects of, well, everything, it was difficult to shake the thoughts of the most negative reviews while listening to this album. In particular the 2 star Rolling Stones review published by Tom Graves on September 2, 1993. After hinting at the public excitement that Bjork had finally broken free of her too-arty-for-the-art-world band, The Sugarcubes, Graves lamented that, "Producer Nellee Hooper has sabotaged a ferociously iconoclastic talent with a phalanx of cheap electronic gimmickry. Björk’s singular skills cry out for genuine band chemistry, and instead she gets Hooper’s Euro art-school schlock — and we do, too." Despite being a long-time fan of Bjork's work, the phrase "cheap electronic gimmickry" stuck with me, along with the other detailed descriptions given for the somewhat mishmash of ideas on the album. There's still a lot to love about this album, and, MUST you hear before you die? Absolutely... If for no other reason that to get a glimpse into what reviewers might say about many popular albums if you strip away an artists current or potential fame. How many positive reviews are written with a hedging-our-bets mentality so that they are not looked upon too unfavourably when the album they're about to give 2 stars ends up becoming a classic?

Normally I like weird music, but this doesn't do it for me

I will start off by saying that I do enjoy electronic / experimental / trip hop (Poison Girlfriend & Portishead are some of my favourites.) As long as it's good music — I'll rock with it. Here in lies the problem: Björk's music is genuinely not good. Her over-reliance on digital tool, paired with her mediocre-at-best voice (Björk fans find her jarring vocals "endearing", I do not) makes Björk's albums feel more like an art installation than music intended for enjoyment. In addition, her albums lack cohesion and focus. Unless you're big on avant-garde, I recommend you to skip today's album.

Bjork is as mad as a bag of frogs... but this album is incredibly boring and lack musical talent, its basically just Bjork quirky singing style. Big Time Sensuality is the only track I'd listen to on the album, the rest of it was really not my thing... sooo boring.

Definitely not boring but definitely not for me

Interesting and boring at the same time. Mostly boring

I wanted so badly to like this album, but I just couldn’t get into it. Björk can clearly sing but the songwriting on this is mediocre to bad and the backing tracks sound extremely dated.

Overrated - always has been. A couple of ok moments such as big time sensuality but by and large terrible stuff

Sorry to say, but I don't understand how this noise could possibly be enjoyable for someone to listen to.

just NOT for me.

How sad that the ratings don't go below 1

some woman making noise, I wish she would be oh so quiet..

As fantastic as this album is, it really is just a tiny foreshadowing of Bjork as a solo artist. She has that distinct voice and range, and Debut features it well. Her arc as a solo artist just kept going further and further into new territory, and this is her first step outside a group, doing her own thing. Brilliant Debut, brilliant career.

Tak właśnie powinno się debiutować. Ta płyta ma własną tożsamość, jest określona, odważna, niesamowicie oryginalna. Bjork ma głos anioła i diabelski talent. Czasami jak dla mnie jest zbyt elektronicznie, nie jest to płyta do słuchania dzień w dzień, ale i tak ją kocham, mimo że jest to miłość trudna, bo ten gatunek nie jest w moim typie. Jaki trzeba mieć talent, aby zmusić mnie do pokochania elektroniki? 9/10

I can’t believe that I find myself leaving a five star review for a Björk album. This is what the generator is all about!

Flawless album by a beautiful Icelandic goddess!

10/10, no notes, perfect album

Fun, ethereal, a bit surreal at times. This was cetainly an experience! Instrumentals were interesting, vocal work very nice and emotional. 'The Anchor Song' was my fave.

Hits you like a ton of bricks

This really is a phenomenal culturally important album. I am embarrassed that i have never owned a copy in any format yet I know it so well. It is full of elements of jazz, hip hop, electronic and straightforward indie. Some incredible standout tracks. I do need to own a copy of this album. It received 5 stars just by looking at the tracklisting. Big Time Sensuality is such an amazing song

Increasingly convinced. Weird production, I get the experience of joining bjork in a cubicle. What’s not to like

This is pretty easily my favorite of hers, probably a given since it's her most accessible. I've only got through Medulla so not quite done with her stuff. It does feel like 90s electronic Kate Bush. One of my favorite pop albums ever and certainly one of the most innovative. Toughest part of the review is deciding whether to give a perfect score or not. I will, I think any potential qualms I might have with it are papered over by how creative it is. 10th perfect score, album #586 Rating: 5.0

One of the greatest albums ever made

YUMMMMMMMMMM. this is SUCH a great album. I listened to it the first time a month ago and fell in love with Come To Me and Venus is a Boy. It's just beautiful. Her singing with the breakbeats stuff and just fusd0fiojsfsifoi it's amazing. fav song: Venus is a Boy

Human Behavior

Post Sugarcubes Bjork was phenomenal. There are some great tracks on here.

Co za album... Bjork zawsze była artystką, o której słyszałem, ale do której trochę bałem się usiąść. Ekstrawagancki wygląd zawsze mnie trochę odstrasza, bo mam wrażenie, że staje się ważniejszy niż muzyka. Ale ten album jest potężny. Nie ma dla mnie nic lepszego i nic bardziej wartościowego, niż muzyka eksperymentalna, która zwyczajnie dobrze brzmi. Bjork bada możliwości własnego głosu, bawi się nim, mam wrażenie jakby eksplorowała skomplikowaną sieć jaskiń i sprawdzała różne możliwości nieoczywiste ścieżki dojścia od punktu A do punktu B, często ignorując najbardziej oczywiste opcje. Muzyka jest często oszczędna, ale jednocześnie nie uboga. Osiągnięcie balansu pomiędzy artyzmem a łatwością słuchania zawsze będzie dla mnie najwyższym wyrazem kunsztu muzyka. "Human Behaviour", "Violently Happy" i "There's More To Life Than This" (w ogóle koncept tego utworu jest niesamowity dla mnie; ten moment, kiedy wychodzi do toalety i dalej śpiewa jest przegenialny) najbardziej zapadły mi w pamięć, ale każdy jeden utwór jest ogromnie intrygujący.

Q U E E N

Absolutely one of a kind!

Ein Wunderwerk an Kreativität. Das wohl kommerziellste und einigängigste Album von Björk. So eine einzigartige Stimme in bunt arrangierten Songs.

Weirdly I don't think I've ever listened to this whole album in full. Loads of songs on there that I already know and love but also a few gems I've never heard. 'Like someone in love' went straight onto my Jan playlist. I think Play Dead might be one of my favourite songs ever...?

So much to offer on this album. Bjork's voice is haunting, emotional, yearning. Creative range of instruments and sounds used. There's the slower, intense songs broken up with the finger clicking, hip-dipping, foot scooting tracks such as "There's More to Life Than This", "Big Time Sensuality". The mystique of "One Day". "Like Someone In Love" is beautiful. Feels like a love song, staring out a window in a monochrome Hollywood movie. Bjork never clicked much for me in the past, then I listened to a cover of "Joga" on Youtube by 50 or so children (her version is also amazing). The writing, vocal placement and creative use of sound in her music is genius.

Absolute masterpiece. The combination of Bjork’s wide eyed, first entering Narnia style vocals and restrained techno creates this wonky, sensual, slightly sinister and curious album that sounds both incredibly of it’s time and something too advanced to be released even now. Of the albums many highlights you have the transfixing and tense ‘Human Nature’, the bossaova of ‘Aeroplane’ and the wispy erotic day dream that is ‘Venus as a Boy.’ It’s only weakness is that it doesn’t feature ‘Army of Me’ on it.

Bjork: a pioneer, a pure soul, a dreamweaver. This record threw me around in all kinds of directions. It was so unpredictable yet so cohesive. I felt as if though I was floating above Bjork’s body as she started on her journey through a world so unknown - pouring out every ounce of passion and energy she had to better understand it. It was almost like she looked at me and said “Shhh, just let go and follow me. I will show you a new world.” As soon as I thought the ride was going one way, I was thrown into another realm. I compare it to a video game where I’m in one level and then the next. I bounced around between songs of innocence and beauty to songs that made me want to dance without caring or knowing where I was exactly. Then all of a sudden “Like Someone in Love” comes on and time slows down. It slows down enough to where I can live in the moment. I hear the waves crash and play off of the harp in the background and suddenly everything makes sense. This song serves as a breath of fresh air exhaled into a world of tranquility and freedom. But don’t get too comfortable because then I got thrown into another act of Bjork’s play. It truly felt as if though I was watching her coming of age film. When the album concluded and the opening song “Human Behaviour” restarted - I couldn’t help but picture credits rolling down the screen. What a dream this was. Thank you so much Bjork for such a magical adventure. Favorites: Venus as a Boy, Like Someone in Love, One Day

I have listened to Björk when I was younger and at the time I felt like it was more art than listenable music to me. Supposedly this her most accessible album and I loved it. Very much in an electronic music phase and was surprised at how housey some of it is. Deep, dark, fun and bright I really enjoyed the contrast in the songs too

Björk is a singular voice and her music has always reached me on an emotional level. Her live shows are truly something to behold and I believe her music will stand the test of time as one of the boldest and most innovative of her (and my) generation. She's an alien. An Icelandic angel. Debut might be the most accessible record for any Björk newcomers, but that doesn't make it any less distinct or imaginative. It's a daring first effort that will only become more refined and sonically cohesive with each progressive release. Standouts, "Human Behaviour", "Venus as a Boy", "Big Time Sensuality" and "Come to Me" each highlight a different facet of Björk's diverse collection of styles and influences on this album. It's fantastic debut to what would become a legendary career. Fun fact: Björk was the first woman to headline Coachella and the only woman to headline it twice.

Albums like these are what I’m most excited about during this project. Hearing amazing art by artists you love for other amazing works elicits such joy. Like catching glimpses of people you love before you knew them, falling in love with their past selves, recognizing and admiring that they all sprouted from the same person you find so endearing. They were always themselves. Bjork is the empress of contemporary experimental independent music. Her unique phrasing and rhythm, keen musical sense, and broad stylistic palette consistently produces eccentric, ground-breaking music. There are few artist that have an instantly recognizable sound all their own, and Bjork sits high on that council. Her debut to the world on Debut is breathtaking. I was always aware of who Bjork was, aware of her distinct voice, aware of her pretense as a real artist among artists. But I had never really listened to any of her records before 2007’s Volta. Her genius is fresh and raw on every track on Debut. Bjork notably distills the spirit and aesthetic of UK electronic and dance music of that time and fuses it with her traditional musical training and idiosyncratic, navel-gazing persona, creating a novel hybrid pop music that sounds nothing like the inspirations it draws from. She sounds as natural and spontaneous atop a thumping, trance house track (Violently Happy — that echo’d vocal and build mid song!!) as she does within a traditional jazz standard (‘Like Someone In Love’) or on the brass-only finale that is a dead-ringer for the wobbly, off-kilter style of contemporary jazzman Sam Gendel. This is a new favorite of mine, and I’ve been listening to it constantly since it popped up here. Coming in just over 48 minutes across 11 tracks, Bjork traverses an impressive amount of musical territory, and despite her nomadic instincts she effortlessly adorns her stylistic and subjective muses with her trademark, forever-foreign Bjork-ness. Few artist exist who are a genre unto themselves. Bjork may be one of the sharpest examples of this in contemporary music.

There's something about her voice, my ears just can't get enough of.

This album’s great, I get why someone would be inclined to have this. Björk’s vocals are definitely an acquired taste and all the ‘clubby’ tracks like violently happy ,there’s more to life than this and big time sensuality especially could be off putting for some. But I like it, probably my favourite Björk 5/5

Muy 90'.

Fantastic. This is better than any of her chart stuff. 5 stars! Never would i thought id enjoy a Bjork album this much.

One of my favourite projects of her

Glorious. Not quite as cohesive as her later albums, but every song was innovative and interesting

9/10

What a voice

This was a really surprising album. I had absolutely no idea what to expect going into it, but I found myself having a pile of fun while listening to it. It’s funky, it’s tribal at times, and it’s undesputedly catchy. Bjorks vocals range from soft and gentle to almost violent, but it never feels unnatural or too much. It’s also an incredibly interesting journey of a record, which is something I value quite a bit. Looking forward to hearing this one again.

LET'S FUCKING GOOOOO!!!!!!!! i love this album. I LOVE this album. The rhythm of "Human Behavior" is such a bangin' way to open an album. HYPE. "Venus As a Boy" is a classic and one of my favorite love songs. The duality of "There's More to Life Than This" - an infectious, super-danceable electronic record about how there's more to life than dancing and parties - is so brilliant and funny. The way it goes into the slow, gentle, jazzy rendition of the standard "Like Someone in Love" is just... *chef's kiss*. The harp on this track is lovely. "One Day" is just an immaculate, shimmering track, it gives me goosebumps. The run of "One Day", "Aeroplane" and "Come to Me" is just... astounding. There is such an incredible synthesis of dance music, house, acid, pop with a strong infusion of jazz and trip hop and world rhythms on this album. Bjork's lyrics are as distinct and creative as her voice. Nothing like it had been done before and nothing really has been since (except her second, equally excellent, album). God bless Bjork, weirdo genius. A timeless, brilliant work of art. 10/10

I love Bjork. Each of her albums are so unique and this one stands out. Each song on this album could be is own album. Even has some surprises! 5/5

Love the variety of sound

I've always liked Björk and initially planned to give this four stars as I think her later material is a bit more coherent. That said, I gave this two fresh listens right now, and am giving it five stars. There's a real quality to each track, though she's a bit all over the place in this record, moreso than later albums.

Dance music (and Björk's) was never as fun and unique as in this record.

Debut is one of those records that only gets better each time I listen to it. Even as a fan of ‘90s electronica, I used to have a bit of an issue with this record, but that’s dissipated as I’ve grown more comfortable with art pop throughout my life. Side A is pretty much all consistent bangers, while Side B is more obtuse and experimental. Side A does include a strange, ethereal art pop song in “Venus as a Boy,” and “Violently Happy” brings the club to Side B, but that basic framing is why it took me so long to finally accept Debut as a great record. The length of “One Day” and the limp trip-hop of “Come to Me” still stand out as the biggest low points, but a low point from Björk would be another artist’s career high. I – and everyone else here – would’ve probably chosen Post over Debut as the album that belongs on this list; and I will say for the record, Post is one of the greatest albums I’ve ever heard in my life. But that doesn’t mean Debut is worthless. It’s also an incredible album that blends electronic pop with traditional folk in a way that only Björk could accomplish with pose and finesse. Absolutely a great album that gets better the more you sit with it.

Love!!!

Best Bjork effort.