Everyone's got their opinions on greatest hits collections. Some stretch the term's validity, some are ample resources and some barely scrape the surface. In recent years, Bjork's insatiable appetite for artistic evolution has seen her explore avenues outside the 'mainstream', diverting attention from her past achievements. About time there was a serious reappraisal then and a stark remainder of her incredible talent.
So what makes Bjork so special? She's become synonymous with Iceland for one. Ok, the competition's not great but name another artist who can make that claim of their homeland? It remains a compelling mystery how she's channeled both the inhospitable and serene extremes of the country's environment into her music. It might sound like a fanciful notion, but with Bjork it's the norm. Inhumanity and humanity, desolation and warmth, night and day become inseparable in her music.
Nearly a decade has passed since the release of 'Debut', during which time, it can be argued that no other solo artist has produced a more mesmerising concoction of schizophrenic beats and impulsive structures to rival it. And that's without mentioning her practically indescribable voice. Unique doesn't do it justice. Try an invigorating mix of innocence, gibberish, hedonism, seduction, pain, beauty, suffering, happiness, humour, improvisation and a multitude of other things that you're probably yet to discover.
While the single CD has its limits (omitting 'Oh So Quiet') it at least makes the collection lean. And the jumbled running order does little to hinder the flow with early cuts ('Play Dead', 'Human Behaviour') alongside the darker, less-naive 'Post' efforts ('Possibly Maybe', 'Hyperballad').
Any mood set is flipped and contrast is everywhere - standard practice for Bjork. The shimmering opener 'All Is Full of Love' is almost trance inducing, while the rumbling 'Army Of Me' retains the fear capacity to make you quiver at the impending assault, reminding those of you who've forgotten the infamous airport incident that Bjork's wrath is not to be incurred. The obligatory new track 'It's In Our Hands' is passable if unspectacular.
Unpredictability, in sound rather than quality, is rife which is why this record succeeds. A decade's worth of work that contains more pioneering and challenging twists than most musicians can ever dream of, Bjork's recordings restores your faith in music having the capacity to surprise. A true individual in an age where successfully aping past styles passes for innovation.
Big time sensuality guaranteed.
by Chris Heath