Though actually her second release, Debut is commonly recognized as Björk’s first official album (the first having been a pop recording made at age 11). It is also the most acclaimed from this widely influential singer.
The album begins with a fairly normal percussion groove. Then Björk begins to sing. This is a sound that can’t really be described to anyone who hasn’t heard her sung-spoken wail. While most people would have a hard time getting past this sound, it is of little aesthetic consequence to me given the kind of music that I typically listen to. One thing’s for sure: it would definitely have turned heads back in 1993. Given the avant-garde nature of her vocals, her lyrics were far less esoteric than one might expect. The second track starts off with a groovy bass line. This is followed by live percussion as well as electronic beats; forming a nice fusion-styled dance track. I like the contrast added by the smooth, melodic percussion. I could easily hear this song at a dance club. Track three is another dance club-friendly tune and one of the album’s singles. The type of percussion used gives the piece a more exotic feel. Björk’s singing is so tame on this number, I almost forget it’s her singing. The fourth track on this album would be a completely normal sounding dance number… if it weren’t recorded in a bathroom stall inside of a dance club. Still, I have to give her credit for at least being experimental (save the creepy shit she does about a minute and a half into the song). Track five provides a sharp contrast to the fourth in a number of ways. Stylistically, it is a tender ballad consisting of only voice and harp. The harmonies are perfectly consonant (unless you live in the 17th century) and her singing is actually gentle and soft… well as gentle and soft as Björk can be on the ears. Let me put it this way: this is the closest thing to an aesthetically beautiful song as you’re going to get from Björk. The sixth track sees a return, once again, to the dance club. Again this track is surprising in it’s straightforward nature. In fact, if Björk didn’t sing, it would be little more than an unremarkable dance number. It is actually for this reason that I don’t care much for this number. Seven is an electronic/dance track as well, albeit a more intriguing one. This one contains more appealing synthesizer lines and effects that are more exciting. The bottom line is: more experimentation + same level of catchiness = a more interesting track.
There is what seems to be a brief pause before a saxophone quartet gently wanders into the musical landscape, beginning track eight. This is followed by the entrance of Björk’s vocals. The Saxes then join her (sounding like an off-kilter jazz combo) as do various jungle sound effects. There is a nice little break in this song, which features what sounds like African-influenced percussion. I like this song because not only is she experimental, she is so in a way that’s listenable (even enjoyable). If the vocals on the ninth track on this album were removed, you might place it as being from the album Moon Safari. Indeed, with its nice smooth strings and deeply hypnotic electronica, this track sounds like a cut from the Air album that wouldn’t be released for another five years! It’s also worth noting that Björk’s voice is particularly well suited for this style of music. In the beginning, track ten sounds like it might be more experimental in nature utilizing only Björk’s vocals. Soon however, a synthesizer starts creeping in fallowed by a predictable dance beat. Again I could easily hear this track being played at a dance club. Musically, it is undistinguishable it from any of the myriad dance tunes. Once again, it is for this reason that I don’t really care for this track. In the eleventh and final song on the album, Björk brings back the sax quartet for the win. Unlike the eighth track however, this one contains only the sound of the quartet and Björk’s voice. Throughout the song, the quartet provides short, harmonic punctuations to Björk’s sung-spoken poetry. This is one of the most experimental as well as aesthetically beautiful tracks. It is this crucial combination that also makes this track my favorite.
Before listening to this album, I really had no idea what to expect. I had listened to Björk a few times, but never an entire album. As I listened to it, I was surprised to hear music that wasn’t based in the avant-garde or experimental, but techno. This isn’t to take anything away from an impressive album ahead of its time, but rather to point out how listenable Björk’s music really is. In fact, if not told the artist, I would bet most people who ‘despise’ her music would actually find it to be quite enjoyable or at the very least inoffensive. Regardless of weather or not you find her voice or even her music to be esthetically pleasing, it’s nice to know that someone is out there pushing the boundaries of musical expression and taste.
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