Naming her first solo album simply Debut feels like an intentional misdirect from singer/songwriter Björk. The bluntness of its title does not even begin to scratch the surface of the daring yet enticing music on her 1993 release. At the time,
Naming her first solo album simply Debut feels like an intentional misdirect from singer/songwriter Björk. The bluntness of its title does not even begin to scratch the surface of the daring yet enticing music on her 1993 release. At the time, Björk’s punk band, The Sugarcubes, was entering a hiatus. Their fearless leader was growing tired of the music they were creating and felt herself becoming more and more obsessed with the U.K.’s evergrowing club scene along with a newfound love for jazz. The songs she was writing didn’t fit the punk aesthetic of the late 80s and her connections to electronic production like house music became the perfect playground for Björk to craft her sound, one that not only separates her from her punk roots but places her in a blinding spotlight. Björk entered 1993 with a few half-finished songs and a lust for a new creative direction and, whether intentionally or not, became an overnight icon in the electronic music scene.
Debut was released 30 years ago today on July 5 1993 via One Little Indian and Elektra. Björk had just moved to London and officially put The Sugarcubes to rest, she was looking for the perfect producer to bring her intricate poetry to life. Her search began by presenting a demo tape that included early versions of “The Anchor Song” and “Aeroplane” to Little Indian Records producer Derek Birkett. Immediately impressed, Birkett and Björk got to work setting up the early skeleton of Debut, although Björk would cycle through a few producers before landing on the perfect fit. She began to craft these songs in a home studio with 808 State’s Graham Massey, the earliest demos showing her intent to dive into the world of trip-hop and house music. Björk also experimented in the world of jazz at this time, tapping into producer Paul Fox to record a few jazz standards. She wanted to work with all types of producers for her proper solo debut, that was until she was introduced to Nellee Hooper who would end up producing Debut in its entirety. Hooper’s credits included acts like Soul II Soul and Sinéad O’Connor but it was his understanding of Björk and willingness to build on her ideas that created the chemistry needed for Debut.
The instrumentals crafted for Debut were groundbreaking, to say the least. Its grooves are unconventional but still as infectious as your stereotypical pop record, tinted with just enough off-kilter drum patterns and Björk’s cartoonish melodies to separate itself from anything that came before it. While labels like “electronic” or “jazz” are commonly used to describe Debut, they are simply meant to categorize these songs, not accurately describe them. The album is able to transition from up-tempo house music to soaring ambiance built around simplistic melodies, leaving the listener speechless in any attempts to put these songs in a box. Björk not only removed herself from the sound of The Sugarcubes all together but seemingly created a genre all to her own. She gave herself a blank slate and painted a visceral snapshot of an artist whose natural abilities are finally starting to surface. Her storytelling over the bouncy instrumental on “Crying” proves her songwriting prowess while moments like “Aeroplane” and “Come to Me” have Björk putting her own spin on cabaret-style jazz.
The expansiveness of Debut solidified Björk as a musical chameleon. Not only was the artist completely switching her style, her newfound style was so dense and measured it feels like these songs have been stuck in her head since the day she was born. Björk was able to naturally transition into new genres while exploring the deepest depths of these sounds, opting for nuanced elements that are even a bit off-kilter by the standards of the genres explored. There are hints of spiritual jazz and small nods to the bubbling psychedelic electronic scene, combining for a tracklist that bounces from one era to the next while still maintaining a consistency that strings everything together.
In an effort to find herself creatively, Björk created a historic moment. Despite the mixed reviews from the U.S. and the overwhelmingly positive feedback from U.K. critics, the music on Debut cuts through any outside noise and demands your attention. For 11 songs, we are taken through the mystical wonders of Björk’s inner monologue and pulled through the mud of its daring creativity. Debut is an album that feels refreshing regardless of how many times you’ve heard it before, it is a statement piece that proved music is far from done evolving and stretched its most conventional ideas to their furthest extent. 30 years later, the album continues to amaze and influence a new generation of artists who see genre as a starting point, not an all-encompassing guiding light.
s punk band, The Sugarcubes, was entering a hiatus. Their fearless leader was growing tired of the music they were creating and felt herself becoming more and more obsessed with the U.K.’s evergrowing club scene along with a newfound love for jazz. The songs she was writing didn’t fit the punk aesthetic of the late 80s and her connections to electronic production like house music became the perfect playground for Björk to craft her sound, one that not only separates her from her punk roots but places her in a blinding spotlight. Björk entered 1993 with a few half-finished songs and a lust for a new creative direction and, whether intentionally or not, became an overnight icon in the electronic music scene.
Debut was released 30 years ago today on July 5 1993 via One Little Indian and Elektra. Björk had just moved to London and officially put The Sugarcubes to rest, she was looking for the perfect producer to bring her intricate poetry to life. Her search began by presenting a demo tape that included early versions of “The Anchor Song” and “Aeroplane” to Little Indian Records producer Derek Birkett. Immediately impressed, Birkett and Björk got to work setting up the early skeleton of Debut, although Björk would cycle through a few producers before landing on the perfect fit. She began to craft these songs in a home studio with 808 State’s Graham Massey, the earliest demos showing her intent to dive into the world of trip-hop and house music. Björk also experimented in the world of jazz at this time, tapping into producer Paul Fox to record a few jazz standards. She wanted to work with all types of producers for her proper solo debut, that was until she was introduced to Nellee Hooper who would end up producing Debut in its entirety. Hooper’s credits included acts like Soul II Soul and Sinéad O’Connor but it was his understanding of Björk and willingness to build on her ideas that created the chemistry needed for Debut.
The instrumentals crafted for Debut were groundbreaking, to say the least. Its grooves are unconventional but still as infectious as your stereotypical pop record, tinted with just enough off-kilter drum patterns and Björk’s cartoonish melodies to separate itself from anything that came before it. While labels like “electronic” or “jazz” are commonly used to describe Debut, they are simply meant to categorize these songs, not accurately describe them. The album is able to transition from up-tempo house music to soaring ambiance built around simplistic melodies, leaving the listener speechless in any attempts to put these songs in a box. Björk not only removed herself from the sound of The Sugarcubes all together but seemingly created a genre all to her own. She gave herself a blank slate and painted a visceral snapshot of an artist whose natural abilities are finally starting to surface. Her storytelling over the bouncy instrumental on “Crying” proves her songwriting prowess while moments like “Aeroplane” and “Come to Me” have Björk putting her own spin on cabaret-style jazz.
The expansiveness of Debut solidified Björk as a musical chameleon. Not only was the artist completely switching her style, her newfound style was so dense and measured it feels like these songs have been stuck in her head since the day she was born. Björk was able to naturally transition into new genres while exploring the deepest depths of these sounds, opting for nuanced elements that are even a bit off-kilter by the standards of the genres explored. There are hints of spiritual jazz and small nods to the bubbling psychedelic electronic scene, combining for a tracklist that bounces from one era to the next while still maintaining a consistency that strings everything together.
In an effort to find herself creatively, Björk created a historic moment. Despite the mixed reviews from the U.S. and the overwhelmingly positive feedback from U.K. critics, the music on Debut cuts through any outside noise and demands your attention. For 11 songs, we are taken through the mystical wonders of Björk’s inner monologue and pulled through the mud of its daring creativity. Debut is an album that feels refreshing regardless of how many times you’ve heard it before, it is a statement piece that proved music is far from done evolving and stretched its most conventional ideas to their furthest extent. 30 years later, the album continues to amaze and influence a new generation of artists who see genre as a starting point, not an all-encompassing guiding light.
