Björk (born November 21st 1965) is an Icelandic singer/songwriter, whose famous hits include "Army of Me" and "It's Oh So Quiet".
Net worth: Bjork has a net worth of $45 million according to Celebrity Net Worth (2015).
Musical Career: Björk first became known through her original group, The Sugarcubes. Her solo career kick started with her album 'Debut', which was infused with a mixture of electronica, house, jazz, and trip-pop. She was actually one of the first artists who mixed electronic dance music with mainstream pop. Björk's musical style has set her aside, combining an array of genres such as dance, rock, classical, electronic, and avant-garde. Björk's success is reflected through 30 of her singles reaching the top 40 around the world. These included "It's Oh So Quiet", "Army Of Me", and "Hyperballad". By 2003, Björk sold over 15 million albums, according to her record label, The Little Indian. Björk's first 6 albums proved a huge success, selling more than 20 million copies world wide. Brit, MTV Video Music, Icelandic Music, and Polar Music, are among the awards won by Björk. The first of its kind; Björk's album 'Biophilia' was released as a series of apps, offering an interactive experience, and her unique creation got a place in the Museum of Modern Art's permanent collection. Björk ranked 29th in the 100 greatest women in music (VH1), 8th in 22 greatest voices in music (MTV), and 60th in 100 greatest singers of all time (Rolling Stones).
Personal life: Bjork grew up in Reykjavík, Iceland with her activist mother Hildur Rúna, who divorced Bjork's electrician father Guðmundur at her birth. She went to Barnamúsíkskóli school to study piano and flute, and was broadcast singing on the RÚV radio station. Björk has two children; Sindri Eldon Þórsson, whose father is ex-Sugacubes bandmate Þór Eldon, and Ísadóra Bjarkardóttir Barney, whose father is her current partner, Matthew Barney.
Bjork Digital comes to London's Somerset House in September, along with a single live show at the Royal Albert Hall.
An exhibition marking the experimental visual work of the ground-breaking singer Bjork is to be held in London’s Somerset House this autumn – along with a single live show at the Royal Albert Hall.
Bjork Digital will open at the central London venue on September 1st and runs until 23rd October, with the aim of showcasing the visual work the Icelandic singer has created in collaboration with others over the last two decades to accompany her musical projects.
Bjork performing in 2015
I doubt that 2015 will be remembered for being dominated by one particular musical genre. It seems the culture of digital downloads has made it more difficult for a movement to coalesce in a marketplace brimming with choice.
I'd argue though that the last twelve months has seen the strongest showing from female artists across the board for many years. Many acts would easily have made my year-end list on a different day, and many of them cantered on a strong female voice. Solo artists like Joanna Newsom, Laura Marling, and Lana Del Rey all presented strong albums. Even Florence Welch's third album How Big, How Blue, How Beautiful, which didn't quite live up to her previous efforts in my opinion, featured some glorious moments. I debated for a long time whether to include Courtney Barnett's Sometimes I Sit And Think, And Sometimes I Just Sit in my ten best records list. Ultimately it sits just outside for me, although her unique delivery and kitchen sink drama approach is wonderfully endearing. That Adele's 25 closed the year on a strong note, just underlined the trend that had been building all year. It's not just solo artists though; the likes of: Best Coast, Girlpool, Bully, and Wolf Alice, all demonstrated that women were back in the spotlight.
Other bands made welcome returns, Blur in particular were my live highlight of the year, thanks to Graham Coxon's master class on stage. Their album The Magic Whip didn't quite make the cut for my list in the end, compared to most other years it would have. Interestingly it was also a year where side projects came to fruition for well-known artists. Dan Auerbach's The Arcs produced their first studio material, as did Matt Berninger's El Vy. Both albums had their moments, but didn't quite feel fully realised in their own right. Elsewhere the likes of Lucero, Jason Isbell, and Ben Folds produced albums that matched their finest work. My love of bands from Philadelphia also continued thanks to Beach Slang's debut The Things We Do To Find People Who Feel Like Us and Hop Along's third album Painted Shut. If there were disappointment's I had, it was those records that were simply good and not as great as you'd hoped. The Decemberists, Frank Turner, Wilco, and Death Cab For Cutie's albums all fell into that category for me. By no means bad, the material on those albums struggled to compete with their high watermarks of previous years. I was especially curious about Ryan Adams' ambitious reinterpretation of the entirety of Taylor Swift's 1989, the result didn't quite live up to the promise it had on the drawing board though. It may have introduced a different audience to some excellent songs, but Adams managed to strip some of the fun out of the arrangements in the process. By the time there were Father John Misty covers of Adams' recordings on the Internet, it felt like the Swift fan club didn't need any more famous members.
Then there were the records you felt you should love, but for whatever reason they just didn't connect on a personal level. Drake and Father John Misty aka Josh Tillman produced records that despite the hype I just didn't manage to fall in love with. Tilman's 'Bored In The USA' was astute social commentary with it's tongue firmly in its cheek, but it didn't hook me into the album as a whole. Perhaps the biggest record in this category for me is Kendrick Lamar's To Pimp A Butterfly. It's technically brilliant, ambitious, has great rhymes, and straddles so many genres that it shouldn't be as cohesive as it is. The problem was, it left me cold. It almost felt as if Lamar wanted to prove he could produce something that ticked all the boxes he thought he should, rather than writing the record he wanted to. Perhaps with time I'll grow to love these albums, hindsight is a wonderful thing.
Continue reading: Jim Pusey's Top 10 Albums Of 2015
Bjork and (Volta) - I am both, a musician called Lone Taxidermist and a make up artist, so Record store Day seemed like a good way of merging both of my passions. One of the reasons why I love vinyl is because of its true long playing physical format. I decided to listen to each album in full from start to end over and over again until the face was complete. Every time the album finished I would have a glass of wine! But I was getting too drunk especially after Human League!" - London, United Kingdom - Friday 24th April 2015
The Icelandic singer joins the growing list of artist keeping their music off the streaming service.
You may have noticed that Bjork’s latest album Vulnicura, which landed in January, is yet to appear on streaming services such as Spotify and it doesn't appear the singer is about to change this anytime soon.
Bjork's Vulnicura, not on Spotify
Explaining her decision to withhold the record from streaming services, Bjork told Fast Company, "We're all making it up as it goes, to be honest. I would like to say there's some master plan going on [with the album release], but there isn't. But a few months ago I emailed my manager and said, "Guess what? This streaming thing just does not feel right. I don't know why, but it just seems insane.”
Continue reading: So Wy Can You Not Listen To Bjork's 'Vulnicura' On Spotify?
The singer is joined by Ben Howard and George Clinton on the line-up.
Bjork has become the latest headline announcement for Wilderness Festival 2015, set to hit Cornbury Park in Oxfordshire, UK from August 6th to 9th following the release of her acclaimed ninth album 'Vulnicura' early this year. She'll appear as the main act on the Friday.
Bjork to headline Wilderness 2015
Having released the follow-up to her 2011 record 'Biophilia' in January, the popular avant-garde Icelandic singer is taking to the road in support of it in the coming months. Among the handful of dates so far announced this year, she'll be topping Friday's bill at Wilderness in the Summer, alongside previously announced headliners for Saturday and Sunday, Ben Howard and George Clinton, the latter of whom will be rocking both his bands Parliament and Funkadelic.
Björk has always navigated a delicate balance between genius and whimsy. The 49-year-old's ninth solo album certainly falls pretty close to the former category, making it all the more disappointing that an internet leak has overshadowed the release of 'Vulnicura'. While certainly not pop in the most traditional sense, this is a bold, accomplished and intensely personal artistic statement. Indeed, for Björk's standards, this is quite a conventional sounding record, but as you'd expect, her interpretation of conventional is gloriously off the map if it were to be applied to other artists.
Drawing back from the envelope-pushing multi-media experience of 2011's 'Biophilia', Björk has chosen to channel her inner torment following the breakdown of her relationship with Matthew Barney. Despite the epic soundscapes, it's actually quite an emotionally claustrophobic album, which has a sonic narrative that escalates to a dramatic climax. That may all sound rather highbrow, verging on pretentious, but when an artist is so obviously using their art for cathartic purposes, it's difficult not to be pulled into the minutia.
Constraining herself to string arrangements and pre-programmed beats, there's a strange clash of old and new musical disciplines here that make the project rather unique. It's reminiscent of some of her previous work, but the raw emotion on display makes this a compelling, if not entirely comfortable, album. Lyrically, 'Vulnicura' is surprisingly direct, by the second track 'Lionsong' it's pretty easy to spot the motivation behind these nine songs. For example, Björk sounds incredibly vulnerable when she sings: "Once it was simple, one feeling at a time. It reached its peak, then transformed. These abstract complex feelings, I just don't know how to handle them". It almost makes me wonder whether there was an unconscious decision to score everything with strings here, as they would quite literally provide moments that tug on the heartstrings.
Continue reading: Bjork - Vulnicura Album Review
Bjork said her 2013 breakup was the most painful thing she had ever experienced.
Bjork's new album Vulnicura, which was rush-released this week after an online leak, is "complete heartbreak album" and features a 10-minute diss track aimed at her ex-boyfriend, the American multimedia artist Matthew Barney. Much of the album focuses on the relationship though 'Black Lake' is a 10-minute song in which the Icelandic singer-songwriter throws the proverbial darts at Barney.
Bjork called her 2013 break-up the most painful thing she had ever experienced
The song focuses on the events 2 months after the breakup. As Billboard notes, Bjork is "pissed" cannot deal with things and feels wronged.
Continue reading: You Do Realise Bjork's 'Vulnicura' Has A 10-Minute Diss Track?
The Icelandic indie icon follows in the footsteps of Beyonce and U2 by instantly releasing her new album ‘Vulnicura’ today.
Bjork’s new album Vulnicura has unexpectedly been released on iTunes less than one week after its announcement. Just six days ago, the singer posted a handwritten note on her Facebook page unveiling details of her ninth record, but the release date has been pushed forward by over two months.
The surprise decision may not have been made for fully artistic reasons, after Stereogum reported over the weekend that the new album had been leaked. The rushed release would therefore almost certainly be a response to that. The CD and vinyl editions of Vulnicura are still scheduled for their original March 23rd release dates, we understand.
Distinctive singer Bjork has rushed out the release of new album 'Vulnicura' after online leaks
Continue reading: Bjork Surprise Releases New Album 'Vulnicura' On ITunes
The distinctive Icelandic singer will release her ninth album in March, her first new material in nearly four years.
Legendary singer Bjork has announced the release of a new album in March this year. The Icelandic songstress took to her Facebook account to post a handwritten note which unveiled some details of the new record, which will be called Vulnicura.
“Ladies and gentlemen, I am very proud to announce my new album is coming out in March. It is called: Vulnicura,” she wrote. She also announced its full tracklisting, which consists of nine songs. The running sequence is ‘Stonemilker’; ‘Lionsong’; ‘History of Touches’; ‘Black Lake’; ‘Family’; ‘Notget’; ‘Atom Dance’; ‘Mouth Mantra’ and ‘Quicksand’.
Bjork, pictured here at the Webby Awards in 2012, is releasing her ninth album in March
Continue reading: Bjork Announces New Album 'Vulnicura' For Release In March
Bjork's fans will adore this film, which captures the last night of her Biophilia world tour with remarkable artistry and an attention to detail. Those who don't know her work might find it somewhat hard-going. Bjork's music is thematically deep and aurally complex, but the songs are often atonal. None are very easy to hum along with. Still, the creative filmmaking offers some ideas for future concert documentaries.
In September 2013 at Alexandra Palace in North London, Bjork gave the final live performance of her Biophilia song cycle about the elements and nature. So it's only natural that the film is introduced with narration from David Attenborough. On-stage, Bjork interacts with musicians Manu Delago and Matt Robertson, as well as a large choir of women from Iceland walking barefoot around her as they sing in eerie harmony. Filmmakers Nick Fenton and Peter Strickland then take the imagery from her video screens and layer it onto the movie. So for much of the film it looks like Bjork is performing on a stage floating in outer space, alongside a gigantic squid or erupting volcano. Then eventually the crowd resolves around her, participating in this celebration of the natural world.
With that Attenborough opening and Bjork's cheeky expressions, there's a nicely witty undercurrent to the whole film. And the cameras capture the performance from askance angles that reveal unexpected things about the amazing instruments Bjork has created with her musicians. Not only do they sound beautiful, but they are just as fascinating to explore with our eyes as the outrageous plasticky onion-white dress she's wearing. Accompanying this is an unusually sharp audio mix that lets us hear every sound. Although this only makes us wish we could understand the lyrics of the songs, which are often strange and moody and hardly seem like songs at all.
Continue reading: Bjork: Biophilia Live Review
Bjork brought her Biophilia tour to London this week.
Bjork's 2011 album Biophilia, exploring the relationship between nature, technology and music, was considered one of the better efforts of that year, though the supporting live show appears to have eclipsed it. The show - launched two years ago alongside a series of short-lived apps for iPad and iPhone - arrived at London's Alexandra Palace this week.
It began with a recorded preamble from broadcaster and naturalist David Attenborough, who told the audience they are "on the brink of a revolution that will reunite humans with nature through new technological innovations." Anyone who caught the unlikely duo's Channel 4 documentary exploring music and how it exists in the natural world will have known they were in for a treat.
Despite the complex song structures, thrilling stage design and Bjork's signature delivery, one thing was missing from Ally Pally, camera phones.
Continue reading: Bjork Rocks London's Alexandra Palace, A Camera Phone-Free Zone
Date of birth
21st November, 1965
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