Post (Björk album)
Post | ||||
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Studio album by | ||||
Released | 7 June 1995 | |||
Recorded | Late 1994–April 1995 | |||
Genre | ||||
Length | 46:10 | |||
Label | ||||
Producer |
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Björk chronology | ||||
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Singles from Post | ||||
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Post is the second studio album by Icelandic singer
The album reached number one in Iceland, number two in the United Kingdom and number 32 in the United States. It was certified gold in New Zealand and Sweden, and platinum in Australia, Canada, the US, and the UK. Six singles were released: "
During the album's commercial peak, Björk was affected by media attention and Post's promotional tour. She survived a murder attempt, and caused controversy by assaulting a reporter. Björk would relocate to Spain away from the press and produce her next album, Homogenic (1997). Considered an important exponent of art pop, Post has been praised by critics for its ambition and timelessness. It was named one of the greatest albums of 1995 by numerous publications, and has since been named one of the greatest albums of all time by publications including Entertainment Weekly and Rolling Stone.
Recording and production
"I always use the word 'promiscuous' for this album. I just wanted to try to work with several people. It was very much also reflecting my life at the time. Kinda big city, big lights, Trafalgar Square kind of energy. I was going to a lot of clubs, I was meeting a lot of new friends that ended up being friends for life, actually. I was very extrovert. [I'd been an introvert] all my life and then suddenly I was very extroverted, very extroverted friends, [...] being over the top. But really enjoying it. But maybe also knowing that you didnt want to do that forever. You know, it was a once-in-a-lifetime kind of thing."
Björk released her previous studio album
For this record, Björk incorporated shelved songs she wrote in Manchester with 808 State's Graham Massey, which had preceded the recording sessions for Debut.[10] These included "Army of Me" and "The Modern Things", which had become live staples over the summer, and did not need to undergo extensive transformations at Compass Point.[10] Björk explained her decision to include "Army of Me" in Post rather than Debut: "I was gonna make it as a part of Debut but for me [that album] was a more gentle energy and Post was more raw, more brutal. And maybe you can say that Debut was London but Post was more a little bit Manchester, a little bit Scotland, a little bit Bristol. So it was not so sleek. At that time, anything that came from London was a little bit sleek, and people from Scotland and Manchester and Bristol looked down at all things sleek, they wanted things to be raw. When I use the word 'sleek' I actually don't use it as a bad word, I think it worked really well on Debut, to kinda glue everything together. But I think on Post I was like: 'okay, I've put aside this raw energy, now I want to bring it in."[5] Massey stated: "With 'Army of Me' we wanted to try something that was quite hard and techno-y. I'm not sure how she wrote those lyrics so fast but I remember that song being almost instantaneous. [...] We kind of knocked that off in one day and then started on 'The Modern Things' the same day and finished that the next".[10]
Although the album was supposed to be delivered the day after she returned from
The track that underwent the most extensive change was "
Composition
Musical style
"On Post she uncovers a range of specific sounds—not broad styles—that best express her emotions and color her arrangements. With little awe or irony, Björk blends these recognizable scraps and otherworldly snippets into a striking pattern of her own design, making Post an album that's post-everything but akin to nothing else."
–Lorraine Ali, Rolling Stone, 1995.[22]
Björk's website described Post as "a bit of a bolder side of [Björk], who now had ventured all the way from Iceland to England, and was exploring the faster pace and big city life that this new country brought. This album became influenced of that and became more adventurous and
Post touches on various musical styles, including
The Rolling Stone review stated that Björk "[foraged] for inspiration in the soundscapes of orchestral jazz, ambient techno and classical".[22] Influences of jazz fusion were also noted by a contemporary review by The New York Times.[36] In 1996, when asked about the album's musical influences, Björk stated: "I'm influenced by everything. By books, by the weather, by the water, by my shoes, if they're comfortable or not. Everything."[37]
Songs
The album opens with "Army of Me", an aggressive
The following track, "Enjoy", a song concerning the links between sex and fear, has been considered "decidedly trippy",
"
Title and artwork
Björk chose the title Post for two reasons. Firstly, it refers to the fact that all the songs on the album were written after her move to England,[30] while the songs on Debut were songs she had written during the previous ten years of her life in Iceland.[23] In a 1996 interview, Björk said: "I always knew it would be two albums and that's why I called them Debut and Post. Before and after".[59] Secondly, the title was inspired by Björk's desire to communicate with friends and family back in Iceland, giving Post the additional meaning of "mail".[23][60]
The album cover was photographed by
A shot of Björk surrounded by silver balls was planned as the cover, but it was scrapped in favour of something "more
Release and promotion
Post was released on 7 June 1995,
In November 1996, Björk released the "often-delayed" remix project Telegram, which contained reworkings of several songs from Post, with her voice re-recorded.[59] Telegram has been described as "effectively a completely new album".[74] Author Mark Pytlik writes, "Promises of a Post remix album had been circulating since the release of "Army of Me" in April 1995.[75] To compensate, Björk announced the release of a string of 12″ remixes beginning in June, limited to only 1,000 copies each.[75] Producers and musicians featured on Telegram include: Dillinja, Eumir Deodato, LFO, and Graham Massey, among others;[76] Björk only remixed "You've Been Flirting Again" herself.[59] The album also contains a new composition, "My Spine", a collaboration with British percussionist Evelyn Glennie.[6] Telegram spent five weeks on the US Billboard 200 chart, peaking at number 66.[77] In the UK, it peaked at number 59, spending two weeks on the albums chart.[78]
In 2005, the
Singles
"Army of Me" was released as the lead single from Post on 24 April 1995,[91] shortly after the album's production concluded.[20] It was released in the United Kingdom as two different CD releases, with "Cover Me", "You've Been Flirting Again", "Sweet Intuition", and various remixes as its B-sides.[92] A commercial success, it peaked atop the Íslenski Listinn Topp 40,[93] as well as at numbers five and ten in Finland and the United Kingdom, respectively.[94][78] In the United States, it peaked at number 21 on the Alternative Airplay chart.[95] Michel Gondry directed the video for "Army of Me", which takes place in a cyberpunk environment.[96][97] In the video, Björk is seen driving a massive truck, which has been described as "alternately [looking] like an overgrown SUV and a science fiction tank" as she quests to rescue her loved one from an art museum.[98][99]
"Isobel" was released as the second single on 14 August, with B-sides "Charlene", "I Go Humble", "Venus as a Boy", and several remixes.[100][101] Although the record company was against the idea of releasing "Isobel", Björk insisted because she "felt intuitively that this was the right choice".[102] However, "Isobel" did not replicate the success of "Army of Me", peaking at number two in Iceland and number 23 in the UK.[78][103] The music video for "Isobel", directed by Gondry "Isobel" represents the story of the title character Björk envisioned with Sjón. It tells the story of "a wild child discovering urban culture through installations of toy fighter planes", over lush superimposed imagery.[98] Like in the lyrics, where Björk takes the role of narrator and protagonist, she plays two different parts in the music video:[104] Björk is seen as the Isobel who "weaves and composes this world and this story on her organ", and as the Isobel who inhabits this primal world.[105]
"It's Oh So Quiet" was released as the third single on 13 November.
"Hyperballad" was released as the fourth single on 12 February 1996.
"Possibly Maybe" was released as the fifth single on 28 October via several 12-inch records and three different CD releases.
"I Miss You" was released as the sixth and final single on 17 February 1997.[126] Although it became Björk's third US Dance Club Songs number-one single,[127] it was the least successful single from Post in Europe, as it peaked only at number 36 on the UK Singles Chart.[78] The animation of its music video was produced by John Kricfalusi and directed by Erik Weiss.[125][128] It was promptly censored on MTV because of its nudity and violence towards the end.[128]
Critical reception
Contemporary reviews | |
---|---|
Review scores | |
Source | Rating |
Chicago Tribune | [129] |
Entertainment Weekly | A+[33] |
The Guardian | [130] |
Los Angeles Times | [131] |
Music Week | [132] |
NME | 7/10[133] |
Q | [134] |
Rolling Stone | [22] |
Spin | 8/10[135] |
The Village Voice | C+[136] |
Upon its release, Post received universal acclaim from
Joy Press, who reviewed the album for The New York Times, praised the album for not being a "play-safe sequel" to Debut, pointing out that Björk, "[had] followed her most wonderfully wayward impulses".[36] Los Angeles Times critic Richard Cromelin felt that Post was "an often heady mix of trendiness and nostalgia" that was capable of transcending Björk's self-consciousness.[131] Greg Kot of the Chicago Tribune found the album's backing tracks to be "even more varied and unusual" than on Debut, describing Björk as "an extra-terrestrial voice rummaging around in a sonic toybox".[129] Spin's Barry Walters felt the album was an improvement over its predecessor, stating its songs were "stronger, more developed, and less reliant on Björk's wide-eyed delivery". He concluded that: "After years of (no) alternative fascist grunge domination, it's heartening that Björk and producer-co-songwriter Nellee Hooper stayed true to themselves and created another highly personal album that has a chance of interrupting the airwave flow of whiny rockers with little imagination".[135]
Writing for
Commercial performance
Post reached the top ten of several countries, including Australia,
Controversies
The music video for "Army of Me" was removed from MTV's playlist before it aired because its ending depicted Björk bombing an art museum; the Oklahoma City bombing happened at this time.[158] Author Mark Pytlik wrote that this "foreshadowed a string of unlucky events that would further hinder Post's unveiling".[158]
An unsourced sample by Robin Rimbaud, prominently heard throughout "Possibly Maybe", resulted in a lawsuit demanding a co-songwriter credit. After Rimbaud's label New Electronica refused a sample clearance compensation of £1,000 from One Little Indian founder Derek Birkett, Björk and Birkett resolved to destroy over 100,000 copies of the album to create a new version without the sample. However, at the request of Rimbaud, New Electronica gave Björk permission use the sample.[158][159]
Musician Simon Fisher sued Hooper and Björk over writing credits in Debut (1993), but these charges were cleared by judge Robin Jacob.[159] According to Pytlik, these events resulted in "the strangest promotional tour anyone could have ever envisioned: in the week since Post had been released, Björk had seen her album deleted, her video banned, and two separate lawsuits brought against her".[152] One Little Indian were also better prepared to promote the album, scheduling a string of European and American tour dates from the beginning of July into late August.[152]
During the Post era, the extensive media attention and a world tour of 105 dates began to affect Björk.[65][160] She repeatedly complained about the intrusiveness of tabloids and reporters.[161] On tour in February 1996, Björk arrived at Bangkok International Airport with her son Sindri after a long flight. While the pair walked through the arrival terminals, reporter Julie Kaufman approached them and said, "Welcome to Bangkok!" Björk charged at Kaufman and wrestled her to the ground.[160] It was later reported Kaufman had been bothering Björk and Sindri for days prior.[160] The incident was reported around the world.[160][162]
On 12 September, an obsessed American fan, Ricardo López, sent a letter bomb rigged with sulfuric acid to Björk's residence in London, returned home and filmed his suicide. Police contacted Scotland Yard, who intercepted the package without incident. To record in privacy away from the unwanted interest of the press, Björk's tour drummer Trevor Morais offered her his studio in Málaga, Spain, to record her next album, Homogenic.[162]
Impact and legacy
"A dedicated forerunner of fashion, Björk's recorded output has always been ahead of the curve, both in its embracing of technology (and the subsequent compositional rewards) and its audacious ambition and inherent eccentricity. What's truly arresting, though, is just how vibrant, how astoundingly fresh, her work sounds today. [...] Post's influence is felt far and wide today, and not exclusively in dance and electronica circles. [...] In short, the songs here continue to inspire, and this disc's imperial design qualifies it as a timeless classic."
Retrospective reviews | |
---|---|
Review scores | |
Source | Rating |
AllMusic | [32] |
Pitchfork | 10/10[164] |
The Rolling Stone Album Guide | [165] |
Slant Magazine | [166] |
Spin | [167] |
Nick Coleman of The Independent considered Post to be an important release of the art pop genre,[28] Retrospectively, Slant Magazine's Eric Henderson argued that Post "will likely always remain the Björk album that most successfully sustains her winning balance of experimental whimsy and solid pop magic",[166] while Heather Phares of AllMusic wrote that the record was "not simply Debut redux" and concluded: "The work of a constantly changing artist, Post proves that as Björk moves toward more ambitious, complex music, she always surpasses herself".[32] Celebrating the album's 20th anniversary, the British magazine NME described it as, "a masterful matching of hard, up-to-the-minute beats with complex, personal lyrics about the rush and rage of being a modern urban woman".[30] American writer Tom Moon included Post in his 2008 reference book 1,000 Recordings to Hear Before You Die.[168]
The album's influence has been identified as being increasingly palpable on the contemporary music landscape, and later reviews of the album also make note of the timeless aspect of the music.
Much of Post's six music videos have gone on to become
In 2008, when asked how she felt about the album in retrospect, Björk reflected: "I was kinda surprised how the odd spastic thing of the album had actually aged well."[21]
Accolades
By the end of 1995, Post appeared on the year-end lists of multiple publications. In The Village Voice's Pazz & Jop critics' poll for 1995, the album placed at number seven.[177] At the 1995 Icelandic Music Awards, Post received the award for Album of the Year; Björk was also awarded Artist of the Year, Female Singer of the Year, Composer of the Year, and was nominated for Songwriter of the Year.[178] Additionally, "Army of Me" received the Song of the Year award, with "Isobel" also being nominated.[178] She also received the Best Female award at the 1995 MTV Europe Music Awards,[179]
Vibe included the album in its 1999 list of the 100 Essential Albums of the
Publication | Country | Accolade | Year | Rank | ||
---|---|---|---|---|---|---|
Juice | Australia | The 50 Best Albums of All Time[citation needed] | 1997 | 45 | ||
The 100 (+34) Greatest Albums of the 90s[citation needed] | 1999 | 3 | ||||
HUMO
|
Belgium | Albums of the Year[citation needed] | 1995 | 10 | ||
Studio Brussel | The 500 Greatest Albums of All Time, Nominations[citation needed] | 2015 | * | |||
Toronto Sun | Canada | The Best Albums from 1971 to 2000[citation needed] | 2001 | * | ||
Hervé Bourhis | France | 555 Records[citation needed] | 2007 | * | ||
Christophe Brault | Top 20 Albums by Year 1964–2004[citation needed] | 2006 | 12 | |||
FNAC | The 1000 Best Albums of All Time[citation needed] | 2008 | 246 | |||
Les Inrockuptibles | Albums of the Year [citation needed] | 1995 | * | |||
Magic | 25 | |||||
Rocksound | 30 | |||||
Gilles Verlant | 300+ Best Albums in the History of Rock[citation needed] | 2013 | * | |||
Musik Express/Sounds | Germany | Albums of the Year[citation needed] | 1995 | 1 | ||
Rolling Stone | The Best Albums of 5 Decades[citation needed] | 1997 | 101 | |||
RoRoRo Rock-Lexicon | Most Recommended Albums[citation needed] | 2003 | * | |||
Spex | Albums of the Year[citation needed] | 1995 | 12 | |||
Giannis Petridis | Greece | 2004 of the Best Albums of the Century[citation needed] | 2003 | * | ||
Sentire Ascoltare | Italy | The 35 Best Rock Albums of the 1990s[citation needed] | 2014 | 25 | ||
OOR
|
Netherlands | Albums of the Year[citation needed] | 1995 | 34 | ||
Screenagers | Poland | Top 100 Albums of the 90s[citation needed] | 2005 | 24 | ||
Rockdelux | Spain | Albums of the Year[citation needed] | 1995 | 6 | ||
The 300 (+200) Best Albums from 1984-2014[citation needed] | 2014 | 112 | ||||
Pop | Sweden | Albums of the Year[citation needed] | 1995 | 8 | ||
Face | United Kingdom | 24 | ||||
Melody Maker | 48 | |||||
Mixmag | 17 | |||||
Mojo | 17 | |||||
The 100 Greatest Albums of Our Lifetime 1993–2006[citation needed] | 2006 | 53 | ||||
Gary Mulholland | 261 Greatest Albums Since Punk and Disco[citation needed] | * | ||||
NME | Albums of the Year[citation needed] | 1995 | 35 | |||
Nominations For the Best Albums of the 1990s[citation needed] | 2012 | * | ||||
No Ripcord | Top Albums 1990–1999[citation needed] | 2013 | 35 | |||
Select | Albums of the Year[citation needed] | 1995 | 31 | |||
The Wire | * | |||||
Barnes & Noble | United States | The Best Music of the 20th Century[citation needed] | 1999 | * | ||
Consequence of Sound
|
Top 100 Albums Ever[citation needed] | 2010 | 79 | |||
Elvis Costello | 500 Albums You Need[citation needed] | 2000 | * | |||
Entertainment Weekly | The 100 All-Time Greatest Albums[citation needed] | 2013 | 78 | |||
Fast 'n' Bulbous | The 1000 Best Albums of All Time[citation needed] | 2015 | 568 | |||
Tom Moon | 1,000 Recordings to Hear Before You Die[citation needed] | 2008 | * | |||
Music Underwater | Top 100 Albums 1990–2003[citation needed] | 2004 | 72 | |||
Nude as the News | The 100 Most Compelling Albums of the 90s[citation needed] | 1999 | 15 | |||
Los Angeles Times | Albums of the Year[citation needed] | 1995 | 7 | |||
Paste | The 90 Best Albums of the 1990s[citation needed] | 2012 | 64 | |||
Pause & Play | The 90s Top 100 Essential Albums[citation needed] | 1999 | 11 | |||
Pitchfork | Top 100 Favorite Records of the 1990s[citation needed] | 1999 | 35 | |||
2003 | 20 | |||||
Popblerd/bLISTerd | Top 100 Albums of the 1990s[citation needed] | 2012 | 78 | |||
Rolling Stone | Albums of the Year[citation needed] | 1995 | 8 | |||
The Essential Recordings of the 90s[citation needed] | 1999 | * | ||||
50 Essential Female Albums[citation needed] | 2002 | 43 | ||||
The 100 Greatest Albums of the 90s[citation needed] | 2010 | 81 | ||||
Women Who Rock: 50 Greatest Albums[citation needed] | 2012 | 38 | ||||
The 500 Greatest Albums of All Time[202][203] | 2012 | 376 | ||||
2023 | 289 | |||||
SheWired | The 100 Greatest Lesbian Albums of All Time[citation needed] | 2011 | 63 | |||
Slant | The 100 Best Albums of the 1990s[citation needed] | 2011 | 2 | |||
Spin | Albums of the Year[citation needed] | 1995 | 13 | |||
Top 90 Albums of the 90s[citation needed] | 1999 | 7 | ||||
Top 100 Albums of the Last 20 Years[citation needed] | 2005 | 26 | ||||
The 125 Best Albums of the Past 25 Years[citation needed] | 2010 | 75 | ||||
The 300 Best Albums of the Past 30 Years[citation needed] | 2015 | 69 | ||||
Treble | Top 100 Albums of the 90s (10 per Year)[citation needed] | 2008 | 3 | |||
Vibe | 100 Essential Albums of the 20th Century[citation needed] | 1999 | * | |||
(*) designates lists that are unordered. |
Track listing
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | " Army of Me " |
|
| 3:54 |
2. | "Hyperballad" | Björk |
| 5:21 |
3. | "The Modern Things" |
|
| 4:10 |
4. | "It's Oh So Quiet" |
| 3:38 | |
5. | "Enjoy" |
|
| 3:57 |
6. | "You've Been Flirting Again" | Björk | Björk | 2:29 |
7. | "Isobel" |
|
| 5:47 |
8. | "Possibly Maybe" | Björk |
| 5:06 |
9. | "I Miss You" |
|
| 4:03 |
10. | "Cover Me" | Björk | Björk | 2:06 |
11. | "Headphones" |
|
| 5:40 |
Total length: | 46:11 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
12. | "I Go Humble" |
|
| 4:44 |
Total length: | 50:55 |
No. | Title | Writer(s) | Producer(s) | Length |
---|---|---|---|---|
1. | "Sweet Intuition" |
|
| 4:43 |
2. | "Venus as a Boy" (Harpsichord version) | Björk |
| 2:13 |
3. | "Hyperballad" (Brodsky Quartet version) | Björk |
| 4:20 |
4. | "Charlene" |
|
| 4:44 |
Total length: | 16:00 |
No. | Title | Length |
---|---|---|
1. | "Army of Me" (music video) | 4:27 |
2. | "Isobel" (music video) | 4:17 |
3. | "It's Oh So Quiet" (music video) | 4:00 |
4. | "Hyperballad" (music video) | 4:00 |
5. | "Possibly Maybe" (music video) | 5:14 |
6. | "I Miss You" (music video) | 4:03 |
Total length: | 26:01 |
Notes[205]
- "Army of Me" contains a sample from "When the Levee Breaks" (1971), performed by Led Zeppelin.
- “Hyperballad” is named as “Hyperballad (Family Tree Version)” in some regions on streaming services.
- "The Modern Things" contains a sample from "Latin-Esque" (1962) by Juan García Esquivel.
- "Isobel" contains samples from "Infinity" (1973) by Shelly Manne and "Salut Mayoumba" (1983) by Yello.
- “Isobel” is named as “Isobel (Family Tree Version)” in some regions on streaming services.
- "Possibly Maybe" contains a sample from "Untitled (Side A)" (1994), performed by DJ Scanner. The sample was shortly removed from some early pressings of Post while it was disputed.
- "I Miss You" contains samples from "L'Abeille" (1978) by Guem & Zaka Percussion, and "Industrial Bass (Backroom Remix)" (1990) by Project 86.
Personnel
Credits adapted from the liner notes of Post.[19]
Musicians
- Björk – vocals, arrangements, keyboards, organ, string arrangements, brass arrangements, beat programming
- Howie Bernstein – programming
- John Altman – orchestra arrangements, conducting
- Marcus Dravs – programming
- Lenny Franchi – programming
- Graham Massey – keyboards, programming
- Tricky– keyboards, programming
- Marius de Vries – keyboards, programming
- Gary Barnacle – soprano saxophone
- Stuart Brooks – trumpet
- Jim Couza – hammer dulcimer
- Einar Örn Benediktsson – trumpet
- Eumir Deodato – string arrangements, conducting
- Isobel Griffiths – orchestral contracting
- Maurice Murphy – trumpet
- Tony Pleeth – cello
- Guy Sigsworth – harpsichord
- Talvin Singh – percussion
- Rob Smissen – viola
- Gavin Wright – orchestra leading
Technical personnel
- Björk – production
- Howie Bernstein – production, engineering, mixing
- Marcus Dravs – engineering, mixing
- Al Fisch – engineering
- Lenny Franchi – engineering
- Nellee Hooper – production
- Graham Massey – production
- Steve Price – engineering
- Mark "Spike" Stent– mixing
- Al Stone – engineering
- Tricky – production
Artwork
- Martin Gardiner – lotus flower modelling
- Me Company – artwork packaging design
- Stéphane Sednaoui – photography
Charts
Weekly charts
|
Year-end charts
|
Certifications and sales
Region | Certification | Certified units/sales |
---|---|---|
Australia (ARIA)[225] | Platinum | 70,000^ |
Belgium (BEA)[226] | Gold | 25,000* |
Canada (Music Canada)[227] | Platinum | 100,000^ |
Iceland | — | 8,333[228] |
Japan (RIAJ)[229] | Gold | 100,000^ |
New Zealand (RMNZ)[230] | Gold | 7,500^ |
Sweden (GLF)[231] | Gold | 50,000^ |
United Kingdom (BPI)[232] | Platinum | 300,000^ |
United States (RIAA)[234] | Platinum | 846,000[233] |
Summaries | ||
Europe (IFPI)[235] | Platinum | 1,000,000* |
Worldwide | — | 3,000,000[236] |
* Sales figures based on certification alone. |
Release history
Region | Date | Edition(s) | Format(s) | Label(s) | Ref. |
---|---|---|---|---|---|
France | 7 June 1995 | Standard | CD | Mother | |
Germany | 9 June 1995 | ||||
United Kingdom | 12 June 1995 |
|
One Little Indian | ||
United States | 13 June 1995 | Elektra | |||
Japan | 16 June 1995 | CD | Polydor | ||
Australia | 26 June 1995 | ||||
Germany | 26 June 2006 | Surrounded | DualDisc | Mother | |
United Kingdom | 3 July 2006 | One Little Indian | |||
United States | 25 July 2006 | Elektra | |||
Japan | 7 September 2011 | Standard | SHM-CD | Universal Music | |
United Kingdom | 9 March 2015 | Vinyl | One Little Indian | ||
Various | 29 January 2016 | ||||
United Kingdom | 26 April 2019 | Cassette (reissue) |
See also
Notes
- ^ Post is officially considered to be her second solo album.[1][2] It is Björk's third solo studio album if her 1977 self-titled release is taken into account.[3] Some sources consider the album as fourth, adding Gling-Gló to the count, a 1990 collaboration with Tríó Guðmundar Ingólfssonar.[4]
References
- ^ Lester 1996, p. 72
- ^ Pytlik 2003, p. 81
- ^ Layne, Joslyn. "Björk Gudmundsdóttir – Björk Gudmundsdóttir". AllMusic. Archived from the original on 19 April 2022. Retrieved 9 September 2016.
- Now.
- ^ a b Björk, Ásmundur Jónsson, Oddný Eir (8 September 2022). Vespertine. Björk: Sonic Symbolism (audio podcast). Mailchimp. Retrieved 22 September 2022 – via Spotify.
- ^ ISSN 0006-2510. Retrieved 14 June 2016.
- ^ a b Pytlik 2003, p. 87
- ^ a b c Pytlik 2003, p. 88
- ^ a b Webb, Robert. "Rock & Pop: Story Of The Song 'Possibly Maybe' Bjork (1995): [Final Edition]". The Independent. Archived from the original on 29 May 2022. Retrieved 24 July 2021.
- ^ a b c d e Pytlik 2003, p. 89
- ^ a b "500 Greatest Albums of All Time: Björk, 'Post'". Rolling Stone. 31 May 2009. Archived from the original on 30 March 2016. Retrieved 28 March 2016.
- ^ Manning, Terry (studio manager) (25 July 2023). What happened to Compass Point Studios? Terry Manning interview (Podcast). Event occurs at 18:10. Retrieved 11 April 2024.
- ^ a b c d e Pytlik 2003, p. 91
- ^ a b Pytlik 2003, p. 90
- ^ a b "GH&FT special : Isobel". bjork.com. Archived from the original on 3 April 2005. Retrieved 8 January 2005.
- ^ Erlewine, Stephen Thomas. "Nearly God – Nearly God / Tricky". AllMusic. Archived from the original on 4 July 2016. Retrieved 13 July 2016.
- ^ a b c d Pytlik 2003, p. 92
- ^ a b c Snyder, Michael (2 July 1995). "Björk lives up to debut with 'Post'". San Francisco Chronicle.
- ^ a b c Post (CD). Björk. Elektra Records. 1995. 61740-2.
{{cite AV media notes}}
: CS1 maint: others in cite AV media (notes) (link) - ^ a b c d e Pytlik 2003, p. 94
- ^ a b c d e f g h i j k l m n "Enjoyed: Björk: The Stereogum Interview". Stereogum. 2008. Archived from the original on 14 January 2010. Retrieved 29 March 2016.
- ^ a b c d e f Ali, Lorraine (29 June 1995). "Post". Rolling Stone. Archived from the original on 9 April 2016. Retrieved 28 April 2012.
- ^ a b c "Albums: Post". bjork.com. Archived from the original on 5 May 2011. Retrieved 28 March 2016.
- ^ Reynolds, Simon (4 July 2011). "Is Björk the last great pop innovator?". The Guardian. Archived from the original on 10 June 2016. Retrieved 29 March 2016.
- ^ "Cool Eccentric – Björk". Entertainment Weekly. 30 June 1995.
- ^ a b Tabakis, Peter (29 June 2015). "The Diva Cuts Loose". Pretty Much Amazing. Archived from the original on 20 April 2016. Retrieved 4 April 2016.
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