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Post (Björk album)

February 16, 2024

Post is the second studio album by Icelandic singer Björk.[a] It was released on 7 June 1995 by One Little Indian Records. Continuing the style developed on her first album Debut (1993), Björk conceived of Post as a bolder and more extroverted set of songs than its predecessor, featuring an eclectic mixture of electronic and dance styles such as techno, trip hop, IDM, and house, but also ambient, jazz, industrial, and experimental music. Björk produced Post herself with co-producers including Nellee Hooper, 808 State's Graham Massey, and former Massive Attack member Tricky. She wrote most of the songs after moving to London and intended the album to reflect her new life in the city.

Post
Studio album by
Björk
Released7 June 1995 (1995-06-07)
RecordedLate 1994–April 1995
Genre
Length46:10
Label
Producer
Björk chronology
Singles from Post
  1. "Army of Me"
    Released: 24 April 1995
  2. "Isobel"
    Released: 14 August 1995
  3. "It's Oh So Quiet"
    Released: 13 November 1995
  4. "Hyperballad"
    Released: 12 February 1996
  5. "Possibly Maybe"
    Released: 28 October 1996
  6. "I Miss You"
    Released: 17 February 1997

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: "Army of Me", "Isobel", "It's Oh So Quiet", "Hyperballad", "Possibly Maybe", and "I Miss You", with three reaching the UK top 10. Their accompanying music videos were noted for their surrealism, themes of nature and technology, and artistic development of the medium. A remix album titled Telegram was released in 1996.

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 edit

"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, 2022.[5]

Björk released her previous studio album Debut in 1993. At that time, she had moved to London.[6] The production of Debut was "long and laborious", as Björk sought to fully realise her compositional ideas from the past. After its release, she was free to concentrate on her present life for new musical clues for her following album.[7] She contacted producer Nellee Hooper who had worked with her on her previous album.[7] He refused initially, encouraging her to produce the album herself, but agreed when she insisted.[8] However, Björk agreed to co-produce along with other enlisted producers; "to make it stay fresh, she had to think about other people being involved".[8] With Hooper's confirmation, Björk commenced work on the album in late 1994 at the Compass Point Studios in Nassau.[8][9] The picturesque locale inspired Björk to meld the recording process with the exotic natural environment. Biographer Mark Pytlik writes: "The tales surrounding these recording sessions are appropriately evocative".[10] For example, Rolling Stone wrote that for her vocals: "Björk extended her mic cord to a beach so she could sing to the sea".[11] Additionally, the first version of "Cover Me" was recorded entirely from a nearby cave.[10]

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]

 
Eumir Deodato's involvement with Post greatly influenced the sound of the album.

Although the album was supposed to be delivered the day after she returned from the Bahamas, Björk felt it was not yet complete and decided to continue its production back in London.[12] She enlisted a new team of engineers and programmers, and spent the next months "tweaking, rearranging, and sometimes completely rerecording her pre-existing tracks".[12] Ultimately, it was the inclusion of more "real" instruments that "resuscitated Post for Björk".[12] Björk continued to compose songs such as "Isobel", which was created while she was visiting Reykjavík for Christmas, before bringing it back to Hooper's studio.[13] The song's lyrics were written in collaboration with Icelandic poet Sjón, which was his first songwriting experience.[14] Sjón would become a frequent collaborator throughout Björk's career. She also enlisted trip hop artist Tricky to assist in producing the album, on the condition that he would work on two tracks on her album and she would contribute two vocals for his album.[13] Their collaboration resulted in the Post songs "Enjoy" and "Headphones"—in addition to "Keep Your Mouth Shut" and "Yoga", which appeared on Tricky's 1996 studio album, Nearly God.[15]

The track that underwent the most extensive change was "I Miss You", an old song from the Debut era. Howie Bernstein gave the song its "Latin-tinged [rhythm]".[16] Back in London, Björk contacted "old standby" Talvin Singh to record additional percussion parts for it.[16] Fellow former Sugarcubes member Einar Örn Benediktsson was also contacted to play the trumpet on "Enjoy".[17] English sessionist Gary Barnacle was enlisted to play the saxophone.[18] Although he had not been involved in music for a long time, Brazilian composer Eumir Deodato immediately agreed to participate on the album at Björk's request.[16] Björk decided to contact him after being impressed by his arrangements of a rare Milton Nascimento song called "Travessia".[16] Deodato's presence as composer and conductor "immediately bolstered" "Hyperballad", "You've Been Flirting Again" and "Isobel".[19] This addition of strings, brass and percussion elements gave Post the balance Björk felt her original recordings had lacked.[19] "It's Oh So Quiet" was the last track to be recorded.[20] By the time the album was finished in April 1995, the list of co-producers included Björk, Hooper, Bernstein, Massey, and Tricky.[19] Björk has said: "The people I collaborated with were all people I was hanging out with in clubs in London. I had known them all for a while before we ended up working together."[20]

Composition edit

Musical style edit

"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.[21]

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 club-friendly as a contrast to the shy first album, Debut."[22] Likewise, The Guardian wrote in 2011 that "Post tapped into the vortex of multicultural energy that was mid-90s London where she had relocated, and where strange hybrids such as jungle and trip-hop were bubbling".[23] Noted for its eclectic nature,[24] Björk described Post as "musically promiscuous" and "spastic".[20] Peter Tabakis of Pretty Much Amazing said that it has a protean form and "wide emotional palette".[25] While the album is recognised as an experimental work, it is also characterised by its accessibility and pop framework.[26] Post has been described as art pop,[27] experimental pop,[28] and avant-pop.[29]

Post touches on various musical styles, including industrial music,[30] big-band jazz, trip hop, chillout,[30] and experimental music.[31] Jim Farber, reviewing the album in 1995 for Entertainment Weekly, considered Post to be a "connecting point between industrial-disco, ambient-trance, and catchy synth pop".[32] When asked if this variety of genres was intentional, Björk replied: "Yes, I'm very aware of that. I've got very many sides to me."[33] She recognises Post as darker and more aggressive than Debut, and has identified independence, strength, and instinct as its lyrical themes.[33] The balance between synthetic and organic elements in the album—generated through the combination of electronic and "real" instruments—is a recurring characteristic of Björk's output.[12][19] In 1999, Vibe stated: "Fusing techno, industrial, ambient, punk, and the rarefied yet tuneful spheres of art rock, Björk explores a jungle of tones, supported by her eternally buoyant voice from Mars."[34] Part of the album's innovation was Björk's further embrace of electronic instrumentation, an interest established on Debut.[25] While IDM and trip hop influences were present on Debut, Post is characterised by Björk's fuller incorporation of these genres.[26]

The Rolling Stone review stated that Björk "[foraged] for inspiration in the soundscapes of orchestral jazz, ambient techno and classical".[21] Influences of jazz fusion were also noted by a contemporary review by The New York Times.[35] 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."[36]

Songs edit

 
"Hyperballad"
Sample of "Hyperballad". it features morbid lyrics which actually reveal the singer's joie de vivre.[37] Pitchfork wrote: "The song is full of tension—traditional balladry backed by pulsing house music; modernity contrasted with the natural world; Björk's voice vacillating between focused discipline and unrestrained expression."[38]
"Isobel"
Sample of track "Isobel". With its "visually rich narrative",[20] various critics likened its distinctive tempo to journeying through desert landscapes.[39][21]
Problems playing these files? See media help.

The album opens with "Army of Me", an aggressive[40] song with industrial rock,[35] and trip hop influences.[39] It incorporates a looped drum sample of Led Zeppelin's "When the Levee Breaks".[41] Dedicated to Björk's younger brother,[20] the song's lyrics are, according to Björk herself, "about telling someone who is full of self-pity and doesn't have anything together to get a life and stand up"; as she sings: "And if you complain once more/You'll meet an army of me!"[39] "Hyperballad", which incorporates a spectrum of electronic and orchestral styles, has been described as "a love song penned by Aphex Twin".[31] NME wrote that its music "altered from gentle folktronica to drum and bass-tinted acid house"; an attempt to reflect the song's lyrics, which are about "the art of not forgetting about yourself".[42] In them, Björk describes living at the top of a mountain and going to a cliff at sunrise. She throws objects off the cliff while pondering her own suicide. The ritual allows her to exorcise darker thoughts and return to her partner.[43] The track is followed by "The Modern Things", a song that, in a magical realist tone,[44] "playfully posits the theory that technology has always existed, waiting in mountains for humans to catch up".[45] Interview described it in 1995 as a "spooky tune", noting "the odd scratchings at the end" of the track.[46] In a startling shift in style, the big band track "It's Oh So Quiet" covers a German composition made famous by Betty Hutton.[40] It has been described as "a palate-cleanser during the course of the record".[30] Björk included the song "just to make it absolutely certain that the album would be as schizophrenic as possible, that every song would be a shock".[20]

The following track, "Enjoy", a song concerning the links between sex and fear, has been considered "decidedly trippy",[17] and "Post's most abrasive track".[47] NME described it in its 1995 review as, "a dark and deranged techno thing".[48] Over military drums and "squalls of noise", Björk sings about "her hedonistic tendencies".[47] The orchestral interlude "You've Been Flirting Again",[35] like the previous track "Enjoy", features "mysterious or open-ended lyrics".[20] They are an attempt to describe the ambiguous nature of flirting.[20] "Isobel" is a string-laden, orchestral trip hop song,[49][50] Craig McLean of The Face called the track "Broadway on breakbeats".[51] Conceived by Björk as "part autobiography part storytelling", its lyrics concern Isobel, a woman magically born in a forest who finds people in the city "a bit too clever for her", eventually retreating back to nature and sending them a message of instinct through trained moths.[14] Inspired by South American literature—particularly Gabriel García Márquez—the track's lyrics discuss "the duality between reason and emotions, between intuition and intellect"; in Björk's words, "asking how 20th century civilisation clashes with nature and, in places like Iceland and Thailand, people really believe they can have a TV remote control in one hand and a ghost sitting beside them".[52][53]

"Possibly Maybe" is an ambient dub track that fuses trip-hop and chill-out music.[30][49] Björk has said that it was the first unhappy song she wrote, stating in 1997: "That was very hard for me. [...] I was ashamed writing a song that was not giving hope".[54] Its lyrics document the various stages of Björk's ill-fated relationship with Stéphane Sednaoui.[55] With the track, De Vries "create[d] a vinyl-crackling ambience, full of glissando strings and leaden, muted bass.[9] The slide guitar heard in the background of the song was originally intended to be its focal point, as Björk initially strived for an "ambient country" sound inspired by Chris Isaak's "Wicked Game".[55] "I Miss You" was described in 1997 as an "amalgam of styles, with electronic drums melding into African bongos mixed with jazzy horn playing".[56] A house music number, its "horn-infused Afro-Cuban strains [...] reflect the romantic whimsy of [its] lyrics".[17] Björk wrote "Cover Me", one of the quieter moments on the album, to her co-producer Nellee Hooper after he agreed to participate in the making of Post. She has said: "I guess I was trying to make fun of myself, how dangerous I manage sometimes to make album making. And trying to lure him into it. But it is also a admiration thing from me to him".[20] The album ends with the experimental "Headphones",[31] an ambient track.[57] Featuring "just-for-headphones studio tricks", it has been described as "a chiming, somnolent dip into Björk's heavy-lidded pre-dream state".[12] Its lyrics were written as a thank you to Graham Massey, who would make compilation cassettes for Björk.[20] She also stated: "But, of course, it is also a love letter to sound. The sound of sound. Resonances, frequencies, silences and such... a music-worship thing".[20]

Title and artwork edit

 
Post's album cover was meant to depict Björk in Piccadilly Circus.[20]

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,[29] while the songs on Debut were songs she had written during the previous ten years of her life in Iceland.[22] 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".[58] 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".[22][59]

The album cover was photographed by Stephane Sednaoui.[51] It shows Björk standing in a London street, her pale skin and dark hair contrasting with the vivid colours of the Japanese-inspired signs behind her.[59] Designer Paul White of Me Company—who had been a frequent collaborator since the Sugarcubes[60]—"surrounded her with giant postcards to represent communication with friends and family".[29] Björk also said that "my musical heart was scattered at the time and I wanted the [cover] to show that".[20] Me Company designed the artwork, while Martin Gardiner modeled the lotus flower used in the album's booklet and packaging.[18] The jacket Björk wears, shown on the cover, was inspired by Royal Mail airmail envelopes, referencing the album's title.[59] It was specially crafted from envelope paper called Tyvek by designer Hussein Chalayan.[61] The jacket is displayed under glass at Hard Rock Reykjavík, and was part of a 2015 MoMA retrospective on Björk, Björk.[62] Vice has identified the airmail jacket look as one of the "ultimate fashion moments" of Björk's career.[63]

A shot of Björk surrounded by silver balls was planned as the cover, but it was scrapped in favour of something "more poppy".[64] The photo would later appear in a 1995 article for The Face.[51]

Release and promotion edit

Post was released on 7 June 1995,[29] as a 12" record, CD, and compact cassette.[65] It was issued on One Little Indian Records in the United Kingdom and Elektra Records in the United States and Canada; Polydor Records issued Post in Australia and Japan, also releasing the European edition of the album.[65] In September 1995, Björk and poet Sjón released Post, a paperback book meant to be a "pictorial and verbal record of the making of that album".[66] It contained interviews with Björk and also focused on the European leg of the tour.[66] The Post Tour was her first proper North American tour as a solo artist, with Aphex Twin as her opening act.[67] While in the United States, she also appeared on Late Night with David Letterman; this tour "helped maintain Post's momentum and keep Björk in the public eye", since airings of "Army of Me" and "Isobel" had been relegated primarily to after-hours alternative music shows in MTV.[67] In the United Kingdom, Björk also performed on Top of the Pops on several occasions.[68][69][70][71] In 1996, Björk took part in Arnold Schoenberg's Pierrot lunaire, conducted by Kent Nagano and the Opera orchestra of Lyon.[64] In addition, Björk also appeared in several music magazines.[72]

In November 1996, Björk released the "often-delayed" remix project Telegram, which contained reworkings of several songs from Post, with her voice re-recorded.[58] Telegram has been described as "effectively a completely new album".[73] Author Mark Pytlik writes, "Promises of a Post remix album had been circulating since the release of "Army of Me" in April 1995.[74] To compensate, Björk announced the release of a string of 12″ remixes beginning in June, limited to only 1,000 copies each.[74] Producers and musicians featured on Telegram include: Dillinja, Eumir Deodato, LFO, and Graham Massey, among others;[75] Björk only remixed "You've Been Flirting Again" herself.[58] 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.[76] In the UK, it peaked at number 59, spending two weeks on the albums chart.[77]

In 2005, the UNICEF charity record Army of Me: Remixes and Covers was released; it is a collection of seventeen eclectic remixes of "Army of Me".[78] All profits went directly to the charity, to assist the victims of the 2004 Indian Ocean earthquake and tsunami.[78] Live at Shepherds Bush Empire was released as a VHS in November 1998, containing the last performance of the Post Tour, which took place at Shepherd's Bush Empire in February 1997.[79] Post Live, a live album consisting of songs recorded during the Post Tour, was included in the 2003 box set Live Box.[80] The 2002 box set Family Tree includes demos and alternate versions of various tracks off the album.[81] Post has been reissued several times, adapting to different formats such as colored records, 180g vinyl, and DualDisc.[65] A remastered version of the album in surround sound was included in the box set Surrounded, which was released in 2006 on Elektra Records.[82] In 2012, Universal Japan issued a limited edition of Debut and Post together as one compilation .[83] All of Post's music videos were included on the 1998 video release Volumen, and its 2002 reissue Volumen Plus.[84][85] They also appear on Greatest Hits – Volumen 1993–2003, a release that includes the videos featured on Volumen and Volumen Plus.[86] They are also featured on video compilations of its directors, including The Work of Director Michel Gondry and The Work of Director Spike Jonze, all of them from 2003.[87][88][89]

Singles edit

 
Michel Gondry directed the videos for "Army of Me", "Isobel" and "Hyperballad".
 
Spike Jonze directed the music video for "It's Oh So Quiet".

"Army of Me" was released as the lead single from Post on 24 April 1995,[90] shortly after the album's production concluded.[19] 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.[91] A commercial success, it peaked atop the Íslenski Listinn Topp 40,[92] as well as at numbers five and ten in Finland and the United Kingdom, respectively.[93][77] In the United States, it peaked at number 21 on the Alternative Airplay chart.[94] Michel Gondry directed the video for "Army of Me", which takes place in a cyberpunk environment.[95][96] 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.[97][98]

"Isobel" was released as the second single on 14 August, with B-sides "Charlene", "I Go Humble", "Venus as a Boy", and several remixes.[99][100] Although the record company was against the idea of releasing "Isobel", Björk insisted because she "felt intuitively that this was the right choice".[101] However, "Isobel" did not replicate the success of "Army of Me", peaking at number two in Iceland and number 23 in the UK.[77][102] 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.[97] Like in the lyrics, where Björk takes the role of narrator and protagonist, she plays two different parts in the music video:[103] 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.[104]

"It's Oh So Quiet" was released as the third single on 13 November.[105] Its B-sides included "You've Been Flirting Again", "Hyperballad", "Sweet Sweet Intuition" (a rework of "Sweet Intuition"), and "My Spine".[106] The music video for "It's Oh So Quiet" became one of the most played clips on MTV,[107] and the song became Björk's most successful single,[108] peaking at number one in Iceland and within the top ten in Australia, Finland, Ireland, Scotland and the UK, while peaking at number nine on the US Billboard Hot 100's extension Bubbling Under Hot 100 chart.[109][77][110][94] The single was certified gold by the British Phonographic Industry (BPI) for shipments of 400,000 units in the UK.[111] Spike Jonze directed the music video for "It's Oh So Quiet", a homage to Hollywood's Technicolor musicals that drew inspiration from Busby Berkeley and Jacques Demy's The Umbrellas of Cherbourg.[112] Like Demy, Jonze "mines the magical from the mundane," as he transforms a drab auto shop into the location where Björk dances and sings with a full dance company, an attempt to reflect the "exuberance" of her vocal performance.[113]

"Hyperballad" was released as the fourth single on 12 February 1996.[114][115] The single—consisting of two separate CDs—also included remixes of the song, "Isobel" and "Cover Me".[115] Some regions also included a double A-side single with the song "Enjoy", although it only received a number of promo remixes.[116] It peaked at number eight on the UK Singles Chart and atop the US Dance Club Songs.[77][94] The music video for "Hyperballad", also directed by Gondry, has been described as "a techno-dream visual story full of flashing lights, buzzing static, and holograms."[63] It shows Björk as "a character running through a landscape that simulates that of a computer game, only to throw herself off a cliff."[97] The clip is an attempt to reflect the song's story, so Gondry depicted Björk lying down as a dead body, with a holographic image of her singing superimposed on her.[117]

"Possibly Maybe" was released as the fifth single on 28 October via several 12-inch records and three different CD releases.[118][119] A limited-edition 12-inch double A-side with remixes of "Possibly Maybe" and "Enjoy" (by Mark Bell and Dom T., respectively) was also released.[120] "Possibly Maybe" peaked at number 13 on the UK Singles Chart.[77] Sednaoui directed the music video for "Possibly Maybe", despite the song being about his failed relationship with Björk.[55][121] Björk and Sednaoui had previously worked together in the music video for "Big Time Sensuality".[122] In the clip, she appears "as a goddess, floating out from a numinous light-streaked background."[123] Sednaoui is known for having a particularly filmic technique for each of his clips; in "Possibly Maybe", the use of blacklighting "makes Björk glow sensuously and perversely".[121] It was conceived in a theatrical way: nearly all of the scenes were filmed in the same space, which is transformed with changes in the mise-en-scène.[103] The style of "Possibly Maybe"'s scenery and Björk's wardrobe reference East Asian imagery, and a Japanese traditional doll is featured as Björk's only accompaniment; as a silent witness, it is the object on which the protagonist casts reflections on her own identity.[103] Regarding the video, Sednaoui said: "Her song and my video were a way of saying things to each other that we couldn't say otherwise."[124]

"I Miss You" was released as the sixth and final single on 17 February 1997.[125] Although it became Björk's third US Dance Club Songs number-one single,[126] it was the least successful single from Post in Europe, as it peaked only at number 36 on the UK Singles Chart.[77] The animation of its music video was produced by John Kricfalusi and directed by Erik Weiss.[124][127] It was promptly censored on MTV because of its nudity and violence towards the end.[127]

Critical reception edit

Professional ratings
Contemporary reviews
Review scores
SourceRating
Chicago Tribune    [128]
Entertainment WeeklyA+[32]
The Guardian     [129]
Los Angeles Times    [130]
Music Week     [131]
NME7/10[132]
Q     [133]
Rolling Stone     [21]
Spin8/10[134]
The Village VoiceC+[135]

Upon its release, Post received universal acclaim from music critics. Lorraine Ali of Rolling Stone praised the album for differentiating from the alternative rock offerings of the early 1990s, and for successfully merging disparate styles.[21] She concluded: "When Post comes to an end, it feels like getting back from a good vacation: the last thing you want to do is re-enter the real world".[21] Writing for Entertainment Weekly, Jim Farber stated that despite Post's "bizarre" combination of diverse genres, the conviction of Björk's delivery and assuring hooks "[made] her most surreal passages as relatable as moon-June standards".[32] He felt that Björk "[reinvented] that tradition, constructing standards for the cyber age".[32]

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".[35] 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.[130] 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".[128] 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".[134]

Writing for MTV Online, Lou Stathis wrote that, "[it's mostly] Björk's wacky, mind-altered perspective that makes Post modern pop music at once both baffling and engaging".[136] He believed that the album was a rewarding experience for both the casual consumer, as well as the serious listener, also pointing out that, "it not only sounds good while you're listening to it, but it leaves you feeling good when it's over, too".[136] Robert Christgau, reviewing the album for The Village Voice, was less enthusiastic.[135] He found that the album's "eccentric instrumentation" and "electronic timbres" failed to compensate for its lack of "groove" and was unmoved by Björk's lyrics, which he said "might hit home harder if she'd grown up speaking the English she'll die singing, but probably wouldn't".[135]

Commercial performance edit

Post reached the top ten of several countries, including Australia,[137] Belgium,[138] Canada,[139] Denmark,[140] the Netherlands,[141] Finland,[140] France,[140] Germany,[142] Ireland,[143] New Zealand,[144] Norway,[145] Portugal,[146] Sweden,[147] Switzerland,[148] and the United Kingdom.[149] Post also peaked at number two on the European Top 100 Albums chart.[150] The album peaked at number 32 in the Billboard 200,[76] almost 30 places higher than the peak position of its predecessor Debut. It also received an enthuastic reception from college radios.[151][152] Post also reached top 40 in Hungary[153] and Japan.[154] The album was certified platinum in Australia, Canada, the United Kingdom, the United States, and Europe; and gold in Sweden and New Zealand. In 2007, The Washington Post reported that Post had sold 810,000 units in the United States according to Nielsen SoundScan;[155] it had sold 36,000 additional copies by 2015.[156]

Controversies edit

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.[157] Author Mark Pytlik wrote that this "foreshadowed a string of unlucky events that would further hinder Post's unveiling".[157]

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.[157][158]

Musician Simon Fisher sued Hooper and Björk over writing credits in Debut (1993), but these charges were cleared by judge Robin Jacob.[158] 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".[151] 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.[151]

During the Post era, the extensive media attention and a world tour of 105 dates began to affect Björk.[64][159] She repeatedly complained about the intrusiveness of tabloids and reporters.[160] 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.[159] It was later reported Kaufman had been bothering Björk and Sindri for days prior.[159] The incident was reported around the world.[159][161]

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.[161]

Impact and legacy edit

"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."

—Mike Diver, BBC Music, 2009.[162]

Professional ratings
Retrospective reviews
Review scores
SourceRating
AllMusic     [31]
Pitchfork10/10[163]
The Rolling Stone Album Guide     [164]
Slant Magazine     [165]
Spin     [166]

Nick Coleman of The Independent considered Post to be an important release of the art pop genre,[27] 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",[165] 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".[31] 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".[29] American writer Tom Moon included Post in his 2008 reference book 1,000 Recordings to Hear Before You Die.[167]

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.[162][168][169] Writing for The Daily Review, James Rose wrote in 2015: "Post is where mainstream music could have gone. While modern chart music hasn't gone there entirely[,] she undoubtedly helped broaden the playing field. [The album] stands today as a body of work that still informs the more marginal artistic fringes of modern music and reminds us how narrow and staid our world would be without outliers like Björk.[169] Also in 2015, Andrew Shaw of Nerdist felt that Post "chose to ignore expectation, market restrictions, and contemporary trends", and that Björk "pushed her vocal performances into new places, where no other vocalists could dare to sing".[168] He compared the album's impact on audiences to that of Jimi Hendrix's 1967 album, Are You Experienced, writing it "set the benchmark for what was possible when you take tradition and set it on fire".[168] Raymond Ang of The Wall Street Journal considered Post to be "Björk's last stab at the pop game… she would dig deeper into her increasingly avant-garde interests and, in the years to come, thrill and challenge her audience".[124]

David Longstreth of Dirty Projectors is an admirer of the record, stating he was influenced by Björk's deconstruction of classic melodies.[29] American singer-songwriter Amy Lee has said Post is "one of the biggest records in [her] life".[170] DJ Shadow sampled "Possibly Maybe" in "Mutual Slump", a track off his 1996 album, Endtroducing......[171] The Vitamin String Quartet—known for its series of tribute albums to rock and pop acts—covered "Army of Me" and "You've Been Flirting Again" in the 2001 album, Ice: The String Tribute to Björk.[172] In 2008, Stereogum released a compilation of cover versions in homage to the album, titled Enjoyed: A Tribute to Björk's Post.[173] It features: Dirty Projectors, Liars, Xiu Xiu, High Places and Atlas Sound, among other artists.[173]

Much of Post's six music videos have gone on to become classics—most notably "It's Oh So Quiet" and "Army of Me".[165] At the time of its release, music videos were beginning to be used as an art form, and Björk's visual output during this period—and her career in general—have become a clear example of the medium's artistic legitimation.[174] Spanish writer Estíbaliz Pérez Asperilla has identified recurring motifs and themes through Björk's videography; these include nature and a magnified depiction of Björk.[174] Surrealism and technology have also been identified as recurring features in Björk's visual output of this period. David Ehrlich of Time Out considered her "one of the first artists to meaningfully explore the aesthetic and semiotic value of CG and its relationship to the [videos]."[113] Writing for Paste, Alexa Carrasco felt, "Björk has created some of the most beautiful and weird videos to ever play on MTV."[122] The popularity of the music video for "It's Oh So Quiet" made the song one of Björk's most ubiquitous tracks, and was considered her first breakthrough on MTV.[113][124] The music videos—and the pink boots Björk wears in "Hyperballad" (the work of Belgian designer Walter Van Beirendonck)—were displayed in the Museum of Modern Art, New York City, as part of the 2015 Björk exhibition.[62][63] They were also featured in the 2016 exhibition, Björk Digital, which premiered at Carriageworks as part of the Vivid Sydney festival.[175]

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."[20]

Accolades edit

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.[176] 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.[177] Additionally, "Army of Me" received the Song of the Year award, with "Isobel" also being nominated.[177] She also received the Best Female award at the 1995 MTV Europe Music Awards,[178][179] and Best International Female at the Rockbjörnen Awards.[180] Björk was also nominated for the Nordic Council Music Prize.[181] In 1996, she received her second Best International Female Solo Artist award at the 16th Brit Awards.[182] She received the same distinction at the Danish Music Awards, the International Dance Music Awards,[183] and the Italian Music Prize.[184] In 1996, Post was nominated for Best Alternative Music Album at the 38th Annual Grammy Awards,[185] was awarded an IFPI Platinum Europe Award,[186] and the ASCAP Vanguard Award given by the American Society of Composers, Authors and Publishers.[187][188] For the album's music videos, "Army of Me" was nominated for Best Special Effects in a Video and the International Viewer's Choice Award at the 1995 MTV Video Music Awards.[189][190] "It's Oh So Quiet" was nominated for the Best Music Video award at the 38th Annual Grammy Awards, losing to Janet and Michael Jackson's "Scream".[185] At the 1996 MTV Video Music Awards, the video was awarded the Best Choreography in a Video award, and was nominated for Best Female Video, Breakthrough Video, Best Direction, Best Art Direction in a Video, and International Viewer's Choice Award (MTV Europe).[191]

Vibe included the album in its 1999 list of the 100 Essential Albums of the 20th Century.[34] Slant Magazine considered it the second best album of the decade in a 2011 list, only behind Björk's next release, Homogenic, writing it: "is [her] most scatterbrained work to date, but it's tied together flawlessly by [Björk's] singular whimsicality".[192] In 2003, Pitchfork listed it as the 20th best album of the decade, with William Morris writing, "few artists on this list could rival [Björk] in terms of innovation, vision, talent, and high-yield experimentation, and Post was the record to establish this."[193] In a 2012 article, Paste considered Post to be the sixty-fourth best album of the decade, with Ryan Reed stating: "no Björk album is as weird (or weirdly wonderful) as 1995's Post, a dizzying whirlwind of sonic textures and stylistic shifts that demonstrates every facet of her ever-expanding bag of tricks. [...] Björk clearly aimed to demonstrate the meaninglessness of genre boundaries. She succeeded."[194] Post was ranked at number 376 on Rolling Stone's "500 Greatest Albums of All Time" list, with the publication praising its "utter lack of musical inhibition,"[11] and ranked at number 289 on the 2020 updated list.[195] The American publication Consequence of Sound placed the album at number seventy-nine on their 2010 list of the Top 100 Albums Ever, with Harry Painter writing: "Björk is one of few artists who could put out an album juxtaposing blistering electro-pop with big band, club-ready tribal dance with downtempo trip-hop and find both critical and commercial success."[196] In 2015, Post placed on number 69 on Spin's list of the 300 Best Albums of the Past 30 Years, claiming that "[Björk's] fearless plunge into styles is matched by the aplomb with which she bares her anxieties and aspirations."[197] Also in 2008, FNAC placed the album at number 246 in its list of the 1000 best albums of all time.[198] In an unordered list of 500 essential albums compiled for Vanity Fair in 2013, English musician Elvis Costello included Post and mentioned "Hyperballad" as a highlight of the record.[199] In the album's entry of the "Women Who Rock: The 50 Greatest Albums of All Time" list of 2012, Rolling Stone felt, "Björk's artistic stature grew by yards in the course of this strange, affecting work, by turns harshly industrial, meditative and neon jubilant."[200]

Critical rankings for Post
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[citation needed] 2012 376
2020 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 edit

Post – Standard edition
No.TitleWriter(s)Producer(s)Length
1."Army of Me"
3:54
2."Hyperballad"Björk
  • Björk
  • Hooper
5:21
3."The Modern Things"
  • Björk
  • Massey
  • Björk
  • Massey
  • Hooper
4:10
4."It's Oh So Quiet"
  • Björk
  • Hooper
3:38
5."Enjoy"
  • Björk
  • Tricky
3:57
6."You've Been Flirting Again"BjörkBjörk2:29
7."Isobel"
  • Björk
  • Hooper
5:47
8."Possibly Maybe"Björk
  • Björk
  • Hooper
5:06
9."I Miss You"
  • Björk
  • Howie B
4:03
10."Cover Me"BjörkBjörk2:06
11."Headphones"
  • Björk
  • Tricky
  • Björk
  • Tricky
5:40
Total length:46:11
Post – Japanese edition (bonus track)[201]
No.TitleWriter(s)Producer(s)Length
12."I Go Humble"
  • Björk
  • Hooper
4:44
Total length:50:55
Post – Australian and Asian limited tour edition (bonus disc)[65]
No.TitleWriter(s)Producer(s)Length
1."Sweet Intuition"
  • Björk
  • Ken Downie
  • Ed Handley
  • Andy Turner
4:43
2."Venus as a Boy" (Harpsichord version)Björk
  • Hooper
  • Björk
2:13
3."Hyperballad" (Brodsky Quartet version)Björk
4:20
4."Charlene"
  • Björk
  • The Black Dog
  • Björk
  • Hooper
4:44
Total length:16:00
Post – Surrounded DualDisc edition (bonus DVD)[65]
No.TitleLength
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[202]

  • "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 edit

Credits adapted from the liner notes of Post.[18]

Musicians edit

  • 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 edit

  • 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 edit

  • Martin Gardiner – lotus flower modelling
  • Me Company – artwork packaging design
  • Stéphane Sednaoui – photography

Charts edit

Certifications and sales edit

Certifications and sales for Post
Region Certification Certified units/sales
Australia (ARIA)[222] Platinum 70,000^
Belgium (BEA)[223] Gold 25,000*
Canada (Music Canada)[224] Platinum 100,000^
Iceland — 8,333[225]
Japan (RIAJ)[226] Gold 100,000^
New Zealand (RMNZ)[227] Gold 7,500^
Sweden (GLF)[228] Gold 50,000^
United Kingdom (BPI)[229] Platinum 300,000^
United States (RIAA)[231] Platinum 846,000[230]
Summaries
Europe (IFPI)[232] Platinum 1,000,000*
Worldwide — 3,000,000[233]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.

Release history edit

Release dates and formats for Post
Region Date Edition(s) Format(s) Label(s) Ref.
France 7 June 1995 Standard CD Mother
[234]
Germany 9 June 1995
[142]
United Kingdom 12 June 1995
One Little Indian
[235]
United States 13 June 1995 Elektra
[236]
Japan 16 June 1995 CD Polydor
[237]
Australia 26 June 1995
[238]
Germany 26 June 2006 Surrounded DualDisc Mother
[142]
United Kingdom 3 July 2006 One Little Indian
[239]
United States 25 July 2006 Elektra
[240]
Japan 7 September 2011 Standard SHM-CD Universal Music
[241]
United Kingdom 9 March 2015 Vinyl One Little Indian
[242]
Various 29 January 2016
[142]
United Kingdom 26 April 2019 Cassette (reissue)
[243]

See also edit

Notes edit

  1. ^ 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 edit

  1. ^ Lester 1996, p. 72
  2. ^ Pytlik 2003, p. 81
  3. ^ Layne, Joslyn. "Björk Gudmundsdóttir – Björk Gudmundsdóttir". AllMusic. from the original on 19 April 2022. Retrieved 9 September 2016.
  4. ^ Perlich, Tim (1 November 1993). "Björk's brilliant Debut bridges Jazz and Pop". Now.
  5. ^ a b Björk, Ásmundur Jónsson, Oddný Eir (8 September 2022). Vespertine. Björk: Sonic Symbolism (audio podcast). Mailchimp. Retrieved 22 September 2022 – via Spotify.
  6. ^ a b Flick, Larry (1 February 1997). "Björk Mixes It Up With Past Cuts on 'Telegram'". Billboard. ISSN 0006-2510. Retrieved 14 June 2016.
  7. ^ a b Pytlik 2003, p. 87
  8. ^ a b c Pytlik 2003, p. 88
  9. ^ a b Webb, Robert. "Rock & Pop: Story Of The Song 'Possibly Maybe' Bjork (1995): [Final Edition]". The Independent. from the original on 29 May 2022. Retrieved 24 July 2021.
  10. ^ a b c d e Pytlik 2003, p. 89
  11. ^ a b "500 Greatest Albums of All Time: Björk, 'Post'". Rolling Stone. 31 May 2009. from the original on 30 March 2016. Retrieved 28 March 2016.
  12. ^ a b c d e Pytlik 2003, p. 91
  13. ^ a b Pytlik 2003, p. 90
  14. ^ a b . bjork.com. Archived from the original on 3 April 2005. Retrieved 8 January 2005.
  15. ^ Erlewine, Stephen Thomas. "Nearly God – Nearly God / Tricky". AllMusic. from the original on 4 July 2016. Retrieved 13 July 2016.
  16. ^ a b c d Pytlik 2003, p. 92
  17. ^ a b c Snyder, Michael (2 July 1995). "Björk lives up to debut with 'Post'". San Francisco Chronicle.
  18. ^ a b c Post (CD). Björk. Elektra Records. 1995. 61740-2.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  19. ^ a b c d e Pytlik 2003, p. 94
  20. ^ a b c d e f g h i j k l m n . Stereogum. 2008. Archived from the original on 14 January 2010. Retrieved 29 March 2016.
  21. ^ a b c d e f Ali, Lorraine (29 June 1995). "Post". Rolling Stone. from the original on 9 April 2016. Retrieved 28 April 2012.
  22. ^ a b c . bjork.com. Archived from the original on 5 May 2011. Retrieved 28 March 2016.
  23. ^ Reynolds, Simon (4 July 2011). "Is Björk the last great pop innovator?". The Guardian. from the original on 10 June 2016. Retrieved 29 March 2016.
  24. ^ "Cool Eccentric – Björk". Entertainment Weekly. 30 June 1995.
  25. ^ a b Tabakis, Peter (29 June 2015). "The Diva Cuts Loose". Pretty Much Amazing. from the original on 20 April 2016. Retrieved 4 April 2016.
  26. ^ a b Breihan, Tom (12 June 2015). "Post Turns 20". Stereogum. from the original on 5 April 2016. Retrieved 4 April 2016.
  27. ^ a b Coleman, Nick (31 August 2003). "Live Box". The Independent.
  28. ^ Hadden, Briton; Luce, Henry Robinson (1996). "Björk". Time. Vol. 147. p. 139. Retrieved 10 July 2016.
  29. ^ a b c d e f Mackay, Emily (12 June 2015). "Bjork's 'Post' 20 Years On: How The Icelandic Genius Created A Glossy, Future-Focused Avant-Pop Wonderland". NME. from the original on 14 April 2016. Retrieved 4 April 2016.
  30. ^ a b c d "Björk Albums From Worst To Best". Stereogum. 22 February 2013. from the original on 23 July 2014. Retrieved 7 June 2014.
  31. ^ a b c d e Phares, Heather. "Post – Björk". AllMusic. from the original on 1 March 2016. Retrieved 27 October 2015.
  32. ^ a b c d Farber, Jim (23 June 1995). "Post". Entertainment Weekly. from the original on 18 November 2015. Retrieved 29 September 2011.
  33. ^ a b Fischer, Nathalie-Roze (31 August 1996). "Passing notes with Björk: A Study of Human Behaviour". i-D.
  34. ^ a b "The Vibe 100". Vibe. Vol. 7, no. 10. December 1999. p. 155. ISSN 1070-4701. Retrieved 12 July 2016.
  35. ^ a b c d Press, Joy (2 July 1995). "Björk: 'Post'". The New York Times.
  36. ^ Björk, Fabio Massari (October 1996). Lado B (TV show). São Paulo: MTV Brasil.
  37. ^ Pytlik 2003, p. 181
  38. ^ "The Top 200 Tracks of the 1990s: 20-01". Pitchfork. 2 September 2010. from the original on 19 May 2016. Retrieved 20 May 2016.
  39. ^ a b c "Volcanic Action Singer". Pulse!. 30 June 1995.
  40. ^ a b Palmer, Tamara (31 October 1995). "Björk comin' on strong". UHF.
  41. ^ Pytlik 2003, p. 111
  42. ^ "100 Best Songs of the 1990s: Björk, "Hyperballad"". NME. from the original on 31 May 2016. Retrieved 14 May 2016.
  43. ^ Plagenhoef 2008, pp. 127–128
  44. ^ Udovitch, Mim (13 July 1995). "Thoroughly Modern". Rolling Stone.
  45. ^ Cragg, Michael (28 May 2011). "Manchester International Festival guide 2011: Björk's Biophilia". The Guardian. from the original on 12 July 2016. Retrieved 14 May 2016.
  46. ^ Savage, Jon (31 May 1995). "The always uncjorked Björk!". Interview.
  47. ^ a b Pytlik 2003, p. 176
  48. ^ Morton, Roger (22 April 1995). "The Last pixie show – Björk grows up (sort of...)". NME.
  49. ^ a b . Wondering Sound. 9 September 2010. Archived from the original on 26 July 2014. Retrieved 22 June 2014.
  50. ^ Kemp, Bob (18 September 1997). "Fire and Ice". Time Out.
  51. ^ a b c McLean, Craig (1 June 1995). "Kissing to be clever". The Face.
  52. ^ Simonart, Serge (8 October 1995). "The troll, the eccentric, the child: Bjork". Politiken.
  53. ^ "Björk in not bonkers shock". Melody Maker. 14 December 1996.
  54. ^ "Björk". Ray Gun. 1 September 1997.
  55. ^ a b c Pytlik 2003, p. 191
  56. ^ Kelly, Christina (3 January 1997). "Björk – Telegram review". Rolling Stone. No. 772.
  57. ^ "..love bites Björk & Goldie". i-D. No. 154. 1 July 1996.
  58. ^ a b c "The Bomb Changed my Life". Blah Blah Blah. 30 November 1996.
  59. ^ a b c "Big time sensuality". Christie's. 15 June 2015. from the original on 26 August 2016. Retrieved 10 June 2016.
  60. ^ Bucher 2006, pp. 52–53
  61. ^ Thorgerson, Storm & Powell, Aubrey. "One Hundred Best Album Covers – The Stories Behind The Sleeves."
  62. ^ a b Farago, Jason (4 March 2015). "Björk review – a strangely unambitious hotchpotch". The Guardian. from the original on 9 June 2016. Retrieved 10 June 2016.
  63. ^ a b c Manning, Emily (4 March 2015). "Beyond the swan: the most amazing looks from Björk's MoMA retrospective". Vice. from the original on 5 March 2015. Retrieved 13 July 2016.
  64. ^ a b c . bjork.com. 27 April 2000. Archived from the original on 26 February 2005. Retrieved 11 June 2016.
  65. ^ a b c d e Fritsch, Oliver (2009). "Post". 77ísland. from the original on 7 August 2016. Retrieved 3 March 2016.
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Bibliography edit

External links edit

February 16, 2024
post, björk, album, post, second, studio, album, icelandic, singer, björk, released, june, 1995, little, indian, records, continuing, style, developed, first, album, debut, 1993, björk, conceived, post, bolder, more, extroverted, songs, than, predecessor, feat. Post is the second studio album by Icelandic singer Bjork a It was released on 7 June 1995 by One Little Indian Records Continuing the style developed on her first album Debut 1993 Bjork conceived of Post as a bolder and more extroverted set of songs than its predecessor featuring an eclectic mixture of electronic and dance styles such as techno trip hop IDM and house but also ambient jazz industrial and experimental music Bjork produced Post herself with co producers including Nellee Hooper 808 State s Graham Massey and former Massive Attack member Tricky She wrote most of the songs after moving to London and intended the album to reflect her new life in the city PostStudio album by BjorkReleased7 June 1995 1995 06 07 RecordedLate 1994 April 1995GenreArt pop electronica trip hop experimentalLength46 10LabelOne Little Indian Elektra Mother PolydorProducerBjork Nellee Hooper Graham Massey Tricky Howie BBjork chronologyThe Best Mixes from the Album Debut 1994 Post 1995 Telegram 1996 Singles from Post Army of Me Released 24 April 1995 Isobel Released 14 August 1995 It s Oh So Quiet Released 13 November 1995 Hyperballad Released 12 February 1996 Possibly Maybe Released 28 October 1996 I Miss You Released 17 February 1997The 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 Army of Me Isobel It s Oh So Quiet Hyperballad Possibly Maybe and I Miss You with three reaching the UK top 10 Their accompanying music videos were noted for their surrealism themes of nature and technology and artistic development of the medium A remix album titled Telegram was released in 1996 During the album s commercial peak Bjork was affected by media attention and Post s promotional tour She survived a murder attempt and caused controversy by assaulting a reporter Bjork 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 Contents 1 Recording and production 2 Composition 2 1 Musical style 2 2 Songs 3 Title and artwork 4 Release and promotion 5 Singles 6 Critical reception 7 Commercial performance 8 Controversies 9 Impact and legacy 10 Accolades 11 Track listing 12 Personnel 12 1 Musicians 12 2 Technical personnel 12 3 Artwork 13 Charts 13 1 Weekly charts 13 2 Year end charts 14 Certifications and sales 15 Release history 16 See also 17 Notes 18 References 19 Bibliography 20 External linksRecording and production edit 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 Bjork 2022 5 Bjork released her previous studio album Debut in 1993 At that time she had moved to London 6 The production of Debut was long and laborious as Bjork sought to fully realise her compositional ideas from the past After its release she was free to concentrate on her present life for new musical clues for her following album 7 She contacted producer Nellee Hooper who had worked with her on her previous album 7 He refused initially encouraging her to produce the album herself but agreed when she insisted 8 However Bjork agreed to co produce along with other enlisted producers to make it stay fresh she had to think about other people being involved 8 With Hooper s confirmation Bjork commenced work on the album in late 1994 at the Compass Point Studios in Nassau 8 9 The picturesque locale inspired Bjork to meld the recording process with the exotic natural environment Biographer Mark Pytlik writes The tales surrounding these recording sessions are appropriately evocative 10 For example Rolling Stone wrote that for her vocals Bjork extended her mic cord to a beach so she could sing to the sea 11 Additionally the first version of Cover Me was recorded entirely from a nearby cave 10 For this record Bjork 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 Bjork 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 nbsp Eumir Deodato s involvement with Post greatly influenced the sound of the album Although the album was supposed to be delivered the day after she returned from the Bahamas Bjork felt it was not yet complete and decided to continue its production back in London 12 She enlisted a new team of engineers and programmers and spent the next months tweaking rearranging and sometimes completely rerecording her pre existing tracks 12 Ultimately it was the inclusion of more real instruments that resuscitated Post for Bjork 12 Bjork continued to compose songs such as Isobel which was created while she was visiting Reykjavik for Christmas before bringing it back to Hooper s studio 13 The song s lyrics were written in collaboration with Icelandic poet Sjon which was his first songwriting experience 14 Sjon would become a frequent collaborator throughout Bjork s career She also enlisted trip hop artist Tricky to assist in producing the album on the condition that he would work on two tracks on her album and she would contribute two vocals for his album 13 Their collaboration resulted in the Post songs Enjoy and Headphones in addition to Keep Your Mouth Shut and Yoga which appeared on Tricky s 1996 studio album Nearly God 15 The track that underwent the most extensive change was I Miss You an old song from the Debut era Howie Bernstein gave the song its Latin tinged rhythm 16 Back in London Bjork contacted old standby Talvin Singh to record additional percussion parts for it 16 Fellow former Sugarcubes member Einar Orn Benediktsson was also contacted to play the trumpet on Enjoy 17 English sessionist Gary Barnacle was enlisted to play the saxophone 18 Although he had not been involved in music for a long time Brazilian composer Eumir Deodato immediately agreed to participate on the album at Bjork s request 16 Bjork decided to contact him after being impressed by his arrangements of a rare Milton Nascimento song called Travessia 16 Deodato s presence as composer and conductor immediately bolstered Hyperballad You ve Been Flirting Again and Isobel 19 This addition of strings brass and percussion elements gave Post the balance Bjork felt her original recordings had lacked 19 It s Oh So Quiet was the last track to be recorded 20 By the time the album was finished in April 1995 the list of co producers included Bjork Hooper Bernstein Massey and Tricky 19 Bjork has said The people I collaborated with were all people I was hanging out with in clubs in London I had known them all for a while before we ended up working together 20 Composition editMusical style edit 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 Bjork 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 21 Bjork s website described Post as a bit of a bolder side of Bjork 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 club friendly as a contrast to the shy first album Debut 22 Likewise The Guardian wrote in 2011 that Post tapped into the vortex of multicultural energy that was mid 90s London where she had relocated and where strange hybrids such as jungle and trip hop were bubbling 23 Noted for its eclectic nature 24 Bjork described Post as musically promiscuous and spastic 20 Peter Tabakis of Pretty Much Amazing said that it has a protean form and wide emotional palette 25 While the album is recognised as an experimental work it is also characterised by its accessibility and pop framework 26 Post has been described as art pop 27 experimental pop 28 and avant pop 29 Post touches on various musical styles including industrial music 30 big band jazz trip hop chillout 30 and experimental music 31 Jim Farber reviewing the album in 1995 for Entertainment Weekly considered Post to be a connecting point between industrial disco ambient trance and catchy synth pop 32 When asked if this variety of genres was intentional Bjork replied Yes I m very aware of that I ve got very many sides to me 33 She recognises Post as darker and more aggressive than Debut and has identified independence strength and instinct as its lyrical themes 33 The balance between synthetic and organic elements in the album generated through the combination of electronic and real instruments is a recurring characteristic of Bjork s output 12 19 In 1999 Vibe stated Fusing techno industrial ambient punk and the rarefied yet tuneful spheres of art rock Bjork explores a jungle of tones supported by her eternally buoyant voice from Mars 34 Part of the album s innovation was Bjork s further embrace of electronic instrumentation an interest established on Debut 25 While IDM and trip hop influences were present on Debut Post is characterised by Bjork s fuller incorporation of these genres 26 The Rolling Stone review stated that Bjork foraged for inspiration in the soundscapes of orchestral jazz ambient techno and classical 21 Influences of jazz fusion were also noted by a contemporary review by The New York Times 35 In 1996 when asked about the album s musical influences Bjork stated I m influenced by everything By books by the weather by the water by my shoes if they re comfortable or not Everything 36 Songs edit nbsp Hyperballad source source track Sample of Hyperballad it features morbid lyrics which actually reveal the singer s joie de vivre 37 Pitchfork wrote The song is full of tension traditional balladry backed by pulsing house music modernity contrasted with the natural world Bjork s voice vacillating between focused discipline and unrestrained expression 38 Isobel source source track Sample of track Isobel With its visually rich narrative 20 various critics likened its distinctive tempo to journeying through desert landscapes 39 21 Problems playing these files See media help The album opens with Army of Me an aggressive 40 song with industrial rock 35 and trip hop influences 39 It incorporates a looped drum sample of Led Zeppelin s When the Levee Breaks 41 Dedicated to Bjork s younger brother 20 the song s lyrics are according to Bjork herself about telling someone who is full of self pity and doesn t have anything together to get a life and stand up as she sings And if you complain once more You ll meet an army of me 39 Hyperballad which incorporates a spectrum of electronic and orchestral styles has been described as a love song penned by Aphex Twin 31 NME wrote that its music altered from gentle folktronica to drum and bass tinted acid house an attempt to reflect the song s lyrics which are about the art of not forgetting about yourself 42 In them Bjork describes living at the top of a mountain and going to a cliff at sunrise She throws objects off the cliff while pondering her own suicide The ritual allows her to exorcise darker thoughts and return to her partner 43 The track is followed by The Modern Things a song that in a magical realist tone 44 playfully posits the theory that technology has always existed waiting in mountains for humans to catch up 45 Interview described it in 1995 as a spooky tune noting the odd scratchings at the end of the track 46 In a startling shift in style the big band track It s Oh So Quiet covers a German composition made famous by Betty Hutton 40 It has been described as a palate cleanser during the course of the record 30 Bjork included the song just to make it absolutely certain that the album would be as schizophrenic as possible that every song would be a shock 20 The following track Enjoy a song concerning the links between sex and fear has been considered decidedly trippy 17 and Post s most abrasive track 47 NME described it in its 1995 review as a dark and deranged techno thing 48 Over military drums and squalls of noise Bjork sings about her hedonistic tendencies 47 The orchestral interlude You ve Been Flirting Again 35 like the previous track Enjoy features mysterious or open ended lyrics 20 They are an attempt to describe the ambiguous nature of flirting 20 Isobel is a string laden orchestral trip hop song 49 50 Craig McLean of The Face called the track Broadway on breakbeats 51 Conceived by Bjork as part autobiography part storytelling its lyrics concern Isobel a woman magically born in a forest who finds people in the city a bit too clever for her eventually retreating back to nature and sending them a message of instinct through trained moths 14 Inspired by South American literature particularly Gabriel Garcia Marquez the track s lyrics discuss the duality between reason and emotions between intuition and intellect in Bjork s words asking how 20th century civilisation clashes with nature and in places like Iceland and Thailand people really believe they can have a TV remote control in one hand and a ghost sitting beside them 52 53 Possibly Maybe is an ambient dub track that fuses trip hop and chill out music 30 49 Bjork has said that it was the first unhappy song she wrote stating in 1997 That was very hard for me I was ashamed writing a song that was not giving hope 54 Its lyrics document the various stages of Bjork s ill fated relationship with Stephane Sednaoui 55 With the track De Vries create d a vinyl crackling ambience full of glissando strings and leaden muted bass 9 The slide guitar heard in the background of the song was originally intended to be its focal point as Bjork initially strived for an ambient country sound inspired by Chris Isaak s Wicked Game 55 I Miss You was described in 1997 as an amalgam of styles with electronic drums melding into African bongos mixed with jazzy horn playing 56 A house music number its horn infused Afro Cuban strains reflect the romantic whimsy of its lyrics 17 Bjork wrote Cover Me one of the quieter moments on the album to her co producer Nellee Hooper after he agreed to participate in the making of Post She has said I guess I was trying to make fun of myself how dangerous I manage sometimes to make album making And trying to lure him into it But it is also a admiration thing from me to him 20 The album ends with the experimental Headphones 31 an ambient track 57 Featuring just for headphones studio tricks it has been described as a chiming somnolent dip into Bjork s heavy lidded pre dream state 12 Its lyrics were written as a thank you to Graham Massey who would make compilation cassettes for Bjork 20 She also stated But of course it is also a love letter to sound The sound of sound Resonances frequencies silences and such a music worship thing 20 Title and artwork edit nbsp Post s album cover was meant to depict Bjork in Piccadilly Circus 20 Bjork 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 29 while the songs on Debut were songs she had written during the previous ten years of her life in Iceland 22 In a 1996 interview Bjork said I always knew it would be two albums and that s why I called them Debut and Post Before and after 58 Secondly the title was inspired by Bjork s desire to communicate with friends and family back in Iceland giving Post the additional meaning of mail 22 59 The album cover was photographed by Stephane Sednaoui 51 It shows Bjork standing in a London street her pale skin and dark hair contrasting with the vivid colours of the Japanese inspired signs behind her 59 Designer Paul White of Me Company who had been a frequent collaborator since the Sugarcubes 60 surrounded her with giant postcards to represent communication with friends and family 29 Bjork also said that my musical heart was scattered at the time and I wanted the cover to show that 20 Me Company designed the artwork while Martin Gardiner modeled the lotus flower used in the album s booklet and packaging 18 The jacket Bjork wears shown on the cover was inspired by Royal Mail airmail envelopes referencing the album s title 59 It was specially crafted from envelope paper called Tyvek by designer Hussein Chalayan 61 The jacket is displayed under glass at Hard Rock Reykjavik and was part of a 2015 MoMA retrospective on Bjork Bjork 62 Vice has identified the airmail jacket look as one of the ultimate fashion moments of Bjork s career 63 A shot of Bjork surrounded by silver balls was planned as the cover but it was scrapped in favour of something more poppy 64 The photo would later appear in a 1995 article for The Face 51 Release and promotion editPost was released on 7 June 1995 29 as a 12 record CD and compact cassette 65 It was issued on One Little Indian Records in the United Kingdom and Elektra Records in the United States and Canada Polydor Records issued Post in Australia and Japan also releasing the European edition of the album 65 In September 1995 Bjork and poet Sjon released Post a paperback book meant to be a pictorial and verbal record of the making of that album 66 It contained interviews with Bjork and also focused on the European leg of the tour 66 The Post Tour was her first proper North American tour as a solo artist with Aphex Twin as her opening act 67 While in the United States she also appeared on Late Night with David Letterman this tour helped maintain Post s momentum and keep Bjork in the public eye since airings of Army of Me and Isobel had been relegated primarily to after hours alternative music shows in MTV 67 In the United Kingdom Bjork also performed on Top of the Pops on several occasions 68 69 70 71 In 1996 Bjork took part in Arnold Schoenberg s Pierrot lunaire conducted by Kent Nagano and the Opera orchestra of Lyon 64 In addition Bjork also appeared in several music magazines 72 In November 1996 Bjork released the often delayed remix project Telegram which contained reworkings of several songs from Post with her voice re recorded 58 Telegram has been described as effectively a completely new album 73 Author Mark Pytlik writes Promises of a Post remix album had been circulating since the release of Army of Me in April 1995 74 To compensate Bjork announced the release of a string of 12 remixes beginning in June limited to only 1 000 copies each 74 Producers and musicians featured on Telegram include Dillinja Eumir Deodato LFO and Graham Massey among others 75 Bjork only remixed You ve Been Flirting Again herself 58 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 76 In the UK it peaked at number 59 spending two weeks on the albums chart 77 In 2005 the UNICEF charity record Army of Me Remixes and Covers was released it is a collection of seventeen eclectic remixes of Army of Me 78 All profits went directly to the charity to assist the victims of the 2004 Indian Ocean earthquake and tsunami 78 Live at Shepherds Bush Empire was released as a VHS in November 1998 containing the last performance of the Post Tour which took place at Shepherd s Bush Empire in February 1997 79 Post Live a live album consisting of songs recorded during the Post Tour was included in the 2003 box set Live Box 80 The 2002 box set Family Tree includes demos and alternate versions of various tracks off the album 81 Post has been reissued several times adapting to different formats such as colored records 180g vinyl and DualDisc 65 A remastered version of the album in surround sound was included in the box set Surrounded which was released in 2006 on Elektra Records 82 In 2012 Universal Japan issued a limited edition of Debut and Post together as one compilation 83 All of Post s music videos were included on the 1998 video release Volumen and its 2002 reissue Volumen Plus 84 85 They also appear on Greatest Hits Volumen 1993 2003 a release that includes the videos featured on Volumen and Volumen Plus 86 They are also featured on video compilations of its directors including The Work of Director Michel Gondry and The Work of Director Spike Jonze all of them from 2003 87 88 89 Singles edit nbsp Michel Gondry directed the videos for Army of Me Isobel and Hyperballad nbsp Spike Jonze directed the music video for It s Oh So Quiet Army of Me was released as the lead single from Post on 24 April 1995 90 shortly after the album s production concluded 19 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 91 A commercial success it peaked atop the Islenski Listinn Topp 40 92 as well as at numbers five and ten in Finland and the United Kingdom respectively 93 77 In the United States it peaked at number 21 on the Alternative Airplay chart 94 Michel Gondry directed the video for Army of Me which takes place in a cyberpunk environment 95 96 In the video Bjork 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 97 98 Isobel was released as the second single on 14 August with B sides Charlene I Go Humble Venus as a Boy and several remixes 99 100 Although the record company was against the idea of releasing Isobel Bjork insisted because she felt intuitively that this was the right choice 101 However Isobel did not replicate the success of Army of Me peaking at number two in Iceland and number 23 in the UK 77 102 The music video for Isobel directed by Gondry Isobel represents the story of the title character Bjork envisioned with Sjon It tells the story of a wild child discovering urban culture through installations of toy fighter planes over lush superimposed imagery 97 Like in the lyrics where Bjork takes the role of narrator and protagonist she plays two different parts in the music video 103 Bjork 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 104 It s Oh So Quiet was released as the third single on 13 November 105 Its B sides included You ve Been Flirting Again Hyperballad Sweet Sweet Intuition a rework of Sweet Intuition and My Spine 106 The music video for It s Oh So Quiet became one of the most played clips on MTV 107 and the song became Bjork s most successful single 108 peaking at number one in Iceland and within the top ten in Australia Finland Ireland Scotland and the UK while peaking at number nine on the US Billboard Hot 100 s extension Bubbling Under Hot 100 chart 109 77 110 94 The single was certified gold by the British Phonographic Industry BPI for shipments of 400 000 units in the UK 111 Spike Jonze directed the music video for It s Oh So Quiet a homage to Hollywood s Technicolor musicals that drew inspiration from Busby Berkeley and Jacques Demy s The Umbrellas of Cherbourg 112 Like Demy Jonze mines the magical from the mundane as he transforms a drab auto shop into the location where Bjork dances and sings with a full dance company an attempt to reflect the exuberance of her vocal performance 113 Hyperballad was released as the fourth single on 12 February 1996 114 115 The single consisting of two separate CDs also included remixes of the song Isobel and Cover Me 115 Some regions also included a double A side single with the song Enjoy although it only received a number of promo remixes 116 It peaked at number eight on the UK Singles Chart and atop the US Dance Club Songs 77 94 The music video for Hyperballad also directed by Gondry has been described as a techno dream visual story full of flashing lights buzzing static and holograms 63 It shows Bjork as a character running through a landscape that simulates that of a computer game only to throw herself off a cliff 97 The clip is an attempt to reflect the song s story so Gondry depicted Bjork lying down as a dead body with a holographic image of her singing superimposed on her 117 Possibly Maybe was released as the fifth single on 28 October via several 12 inch records and three different CD releases 118 119 A limited edition 12 inch double A side with remixes of Possibly Maybe and Enjoy by Mark Bell and Dom T respectively was also released 120 Possibly Maybe peaked at number 13 on the UK Singles Chart 77 Sednaoui directed the music video for Possibly Maybe despite the song being about his failed relationship with Bjork 55 121 Bjork and Sednaoui had previously worked together in the music video for Big Time Sensuality 122 In the clip she appears as a goddess floating out from a numinous light streaked background 123 Sednaoui is known for having a particularly filmic technique for each of his clips in Possibly Maybe the use of blacklighting makes Bjork glow sensuously and perversely 121 It was conceived in a theatrical way nearly all of the scenes were filmed in the same space which is transformed with changes in the mise en scene 103 The style of Possibly Maybe s scenery and Bjork s wardrobe reference East Asian imagery and a Japanese traditional doll is featured as Bjork s only accompaniment as a silent witness it is the object on which the protagonist casts reflections on her own identity 103 Regarding the video Sednaoui said Her song and my video were a way of saying things to each other that we couldn t say otherwise 124 I Miss You was released as the sixth and final single on 17 February 1997 125 Although it became Bjork s third US Dance Club Songs number one single 126 it was the least successful single from Post in Europe as it peaked only at number 36 on the UK Singles Chart 77 The animation of its music video was produced by John Kricfalusi and directed by Erik Weiss 124 127 It was promptly censored on MTV because of its nudity and violence towards the end 127 Critical reception editProfessional ratingsContemporary reviewsReview scoresSourceRatingChicago Tribune nbsp nbsp nbsp nbsp 128 Entertainment WeeklyA 32 The Guardian nbsp nbsp nbsp nbsp nbsp 129 Los Angeles Times nbsp nbsp nbsp nbsp 130 Music Week nbsp nbsp nbsp nbsp nbsp 131 NME7 10 132 Q nbsp nbsp nbsp nbsp nbsp 133 Rolling Stone nbsp nbsp nbsp nbsp nbsp 21 Spin8 10 134 The Village VoiceC 135 Upon its release Post received universal acclaim from music critics Lorraine Ali of Rolling Stone praised the album for differentiating from the alternative rock offerings of the early 1990s and for successfully merging disparate styles 21 She concluded When Post comes to an end it feels like getting back from a good vacation the last thing you want to do is re enter the real world 21 Writing for Entertainment Weekly Jim Farber stated that despite Post s bizarre combination of diverse genres the conviction of Bjork s delivery and assuring hooks made her most surreal passages as relatable as moon June standards 32 He felt that Bjork reinvented that tradition constructing standards for the cyber age 32 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 Bjork had followed her most wonderfully wayward impulses 35 Los Angeles Times critic Richard Cromelin felt that Post was an often heady mix of trendiness and nostalgia that was capable of transcending Bjork s self consciousness 130 Greg Kot of the Chicago Tribune found the album s backing tracks to be even more varied and unusual than on Debut describing Bjork as an extra terrestrial voice rummaging around in a sonic toybox 128 Spin s Barry Walters felt the album was an improvement over its predecessor stating its songs were stronger more developed and less reliant on Bjork s wide eyed delivery He concluded that After years of no alternative fascist grunge domination it s heartening that Bjork 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 134 Writing for MTV Online Lou Stathis wrote that it s mostly Bjork s wacky mind altered perspective that makes Post modern pop music at once both baffling and engaging 136 He believed that the album was a rewarding experience for both the casual consumer as well as the serious listener also pointing out that it not only sounds good while you re listening to it but it leaves you feeling good when it s over too 136 Robert Christgau reviewing the album for The Village Voice was less enthusiastic 135 He found that the album s eccentric instrumentation and electronic timbres failed to compensate for its lack of groove and was unmoved by Bjork s lyrics which he said might hit home harder if she d grown up speaking the English she ll die singing but probably wouldn t 135 Commercial performance editPost reached the top ten of several countries including Australia 137 Belgium 138 Canada 139 Denmark 140 the Netherlands 141 Finland 140 France 140 Germany 142 Ireland 143 New Zealand 144 Norway 145 Portugal 146 Sweden 147 Switzerland 148 and the United Kingdom 149 Post also peaked at number two on the European Top 100 Albums chart 150 The album peaked at number 32 in the Billboard 200 76 almost 30 places higher than the peak position of its predecessor Debut It also received an enthuastic reception from college radios 151 152 Post also reached top 40 in Hungary 153 and Japan 154 The album was certified platinum in Australia Canada the United Kingdom the United States and Europe and gold in Sweden and New Zealand In 2007 The Washington Post reported that Post had sold 810 000 units in the United States according to Nielsen SoundScan 155 it had sold 36 000 additional copies by 2015 156 Controversies editThe music video for Army of Me was removed from MTV s playlist before it aired because its ending depicted Bjork bombing an art museum the Oklahoma City bombing happened at this time 157 Author Mark Pytlik wrote that this foreshadowed a string of unlucky events that would further hinder Post s unveiling 157 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 Bjork 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 Bjork permission use the sample 157 158 Musician Simon Fisher sued Hooper and Bjork over writing credits in Debut 1993 but these charges were cleared by judge Robin Jacob 158 According to Pytlik these events resulted in the strangest promotional tour anyone could have ever envisioned in the week since Post had been released Bjork had seen her album deleted her video banned and two separate lawsuits brought against her 151 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 151 During the Post era the extensive media attention and a world tour of 105 dates began to affect Bjork 64 159 She repeatedly complained about the intrusiveness of tabloids and reporters 160 On tour in February 1996 Bjork 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 Bjork charged at Kaufman and wrestled her to the ground 159 It was later reported Kaufman had been bothering Bjork and Sindri for days prior 159 The incident was reported around the world 159 161 On 12 September an obsessed American fan Ricardo Lopez sent a letter bomb rigged with sulfuric acid to Bjork 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 Bjork s tour drummer Trevor Morais offered her his studio in Malaga Spain to record her next album Homogenic 161 Impact and legacy edit A dedicated forerunner of fashion Bjork 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 Mike Diver BBC Music 2009 162 Professional ratingsRetrospective reviewsReview scoresSourceRatingAllMusic nbsp nbsp nbsp nbsp nbsp 31 Pitchfork10 10 163 The Rolling Stone Album Guide nbsp nbsp nbsp nbsp nbsp 164 Slant Magazine nbsp nbsp nbsp nbsp nbsp 165 Spin nbsp nbsp nbsp nbsp nbsp 166 Nick Coleman of The Independent considered Post to be an important release of the art pop genre 27 Retrospectively Slant Magazine s Eric Henderson argued that Post will likely always remain the Bjork album that most successfully sustains her winning balance of experimental whimsy and solid pop magic 165 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 Bjork moves toward more ambitious complex music she always surpasses herself 31 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 29 American writer Tom Moon included Post in his 2008 reference book 1 000 Recordings to Hear Before You Die 167 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 162 168 169 Writing for The Daily Review James Rose wrote in 2015 Post is where mainstream music could have gone While modern chart music hasn t gone there entirely she undoubtedly helped broaden the playing field The album stands today as a body of work that still informs the more marginal artistic fringes of modern music and reminds us how narrow and staid our world would be without outliers like Bjork 169 Also in 2015 Andrew Shaw of Nerdist felt that Post chose to ignore expectation market restrictions and contemporary trends and that Bjork pushed her vocal performances into new places where no other vocalists could dare to sing 168 He compared the album s impact on audiences to that of Jimi Hendrix s 1967 album Are You Experienced writing it set the benchmark for what was possible when you take tradition and set it on fire 168 Raymond Ang of The Wall Street Journal considered Post to be Bjork s last stab at the pop game she would dig deeper into her increasingly avant garde interests and in the years to come thrill and challenge her audience 124 David Longstreth of Dirty Projectors is an admirer of the record stating he was influenced by Bjork s deconstruction of classic melodies 29 American singer songwriter Amy Lee has said Post is one of the biggest records in her life 170 DJ Shadow sampled Possibly Maybe in Mutual Slump a track off his 1996 album Endtroducing 171 The Vitamin String Quartet known for its series of tribute albums to rock and pop acts covered Army of Me and You ve Been Flirting Again in the 2001 album Ice The String Tribute to Bjork 172 In 2008 Stereogum released a compilation of cover versions in homage to the album titled Enjoyed A Tribute to Bjork s Post 173 It features Dirty Projectors Liars Xiu Xiu High Places and Atlas Sound among other artists 173 Much of Post s six music videos have gone on to become classics most notably It s Oh So Quiet and Army of Me 165 At the time of its release music videos were beginning to be used as an art form and Bjork s visual output during this period and her career in general have become a clear example of the medium s artistic legitimation 174 Spanish writer Estibaliz Perez Asperilla has identified recurring motifs and themes through Bjork s videography these include nature and a magnified depiction of Bjork 174 Surrealism and technology have also been identified as recurring features in Bjork s visual output of this period David Ehrlich of Time Out considered her one of the first artists to meaningfully explore the aesthetic and semiotic value of CG and its relationship to the videos 113 Writing for Paste Alexa Carrasco felt Bjork has created some of the most beautiful and weird videos to ever play on MTV 122 The popularity of the music video for It s Oh So Quiet made the song one of Bjork s most ubiquitous tracks and was considered her first breakthrough on MTV 113 124 The music videos and the pink boots Bjork wears in Hyperballad the work of Belgian designer Walter Van Beirendonck were displayed in the Museum of Modern Art New York City as part of the 2015 Bjork exhibition 62 63 They were also featured in the 2016 exhibition Bjork Digital which premiered at Carriageworks as part of the Vivid Sydney festival 175 In 2008 when asked how she felt about the album in retrospect Bjork reflected I was kinda surprised how the odd spastic thing of the album had actually aged well 20 Accolades editBy the end of 1995 Post appeared on the year end lists of multiple publications In The Village Voice s Pazz amp Jop critics poll for 1995 the album placed at number seven 176 At the 1995 Icelandic Music Awards Post received the award for Album of the Year Bjork was also awarded Artist of the Year Female Singer of the Year Composer of the Year and was nominated for Songwriter of the Year 177 Additionally Army of Me received the Song of the Year award with Isobel also being nominated 177 She also received the Best Female award at the 1995 MTV Europe Music Awards 178 179 and Best International Female at the Rockbjornen Awards 180 Bjork was also nominated for the Nordic Council Music Prize 181 In 1996 she received her second Best International Female Solo Artist award at the 16th Brit Awards 182 She received the same distinction at the Danish Music Awards the International Dance Music Awards 183 and the Italian Music Prize 184 In 1996 Post was nominated for Best Alternative Music Album at the 38th Annual Grammy Awards 185 was awarded an IFPI Platinum Europe Award 186 and the ASCAP Vanguard Award given by the American Society of Composers Authors and Publishers 187 188 For the album s music videos Army of Me was nominated for Best Special Effects in a Video and the International Viewer s Choice Award at the 1995 MTV Video Music Awards 189 190 It s Oh So Quiet was nominated for the Best Music Video award at the 38th Annual Grammy Awards losing to Janet and Michael Jackson s Scream 185 At the 1996 MTV Video Music Awards the video was awarded the Best Choreography in a Video award and was nominated for Best Female Video Breakthrough Video Best Direction Best Art Direction in a Video and International Viewer s Choice Award MTV Europe 191 Vibe included the album in its 1999 list of the 100 Essential Albums of the 20th Century 34 Slant Magazine considered it the second best album of the decade in a 2011 list only behind Bjork s next release Homogenic writing it is her most scatterbrained work to date but it s tied together flawlessly by Bjork s singular whimsicality 192 In 2003 Pitchfork listed it as the 20th best album of the decade with William Morris writing few artists on this list could rival Bjork in terms of innovation vision talent and high yield experimentation and Post was the record to establish this 193 In a 2012 article Paste considered Post to be the sixty fourth best album of the decade with Ryan Reed stating no Bjork album is as weird or weirdly wonderful as 1995 s Post a dizzying whirlwind of sonic textures and stylistic shifts that demonstrates every facet of her ever expanding bag of tricks Bjork clearly aimed to demonstrate the meaninglessness of genre boundaries She succeeded 194 Post was ranked at number 376 on Rolling Stone s 500 Greatest Albums of All Time list with the publication praising its utter lack of musical inhibition 11 and ranked at number 289 on the 2020 updated list 195 The American publication Consequence of Sound placed the album at number seventy nine on their 2010 list of the Top 100 Albums Ever with Harry Painter writing Bjork is one of few artists who could put out an album juxtaposing blistering electro pop with big band club ready tribal dance with downtempo trip hop and find both critical and commercial success 196 In 2015 Post placed on number 69 on Spin s list of the 300 Best Albums of the Past 30 Years claiming that Bjork s fearless plunge into styles is matched by the aplomb with which she bares her anxieties and aspirations 197 Also in 2008 FNAC placed the album at number 246 in its list of the 1000 best albums of all time 198 In an unordered list of 500 essential albums compiled for Vanity Fair in 2013 English musician Elvis Costello included Post and mentioned Hyperballad as a highlight of the record 199 In the album s entry of the Women Who Rock The 50 Greatest Albums of All Time list of 2012 Rolling Stone felt Bjork s artistic stature grew by yards in the course of this strange affecting work by turns harshly industrial meditative and neon jubilant 200 Critical rankings for Post Publication Country Accolade Year RankJuice Australia The 50 Best Albums of All Time citation needed 1997 45The 100 34 Greatest Albums of the 90s citation needed 1999 3HUMO Belgium Albums of the Year citation needed 1995 10Studio 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 Herve Bourhis France 555 Records citation needed 2007 Christophe Brault Top 20 Albums by Year 1964 2004 citation needed 2006 12FNAC The 1000 Best Albums of All Time citation needed 2008 246Les Inrockuptibles Albums of the Year citation needed 1995 Magic 25Rocksound 30Gilles Verlant 300 Best Albums in the History of Rock citation needed 2013 Musik Express Sounds Germany Albums of the Year citation needed 1995 1Rolling Stone The Best Albums of 5 Decades citation needed 1997 101RoRoRo Rock Lexicon Most Recommended Albums citation needed 2003 Spex Albums of the Year citation needed 1995 12Giannis 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 25OOR Netherlands Albums of the Year citation needed 1995 34Screenagers Poland Top 100 Albums of the 90s citation needed 2005 24Rockdelux Spain Albums of the Year citation needed 1995 6The 300 200 Best Albums from 1984 2014 citation needed 2014 112Pop Sweden Albums of the Year citation needed 1995 8Face United Kingdom 24Melody Maker 48Mixmag 17Mojo 17The 100 Greatest Albums of Our Lifetime 1993 2006 citation needed 2006 53Gary Mulholland 261 Greatest Albums Since Punk and Disco citation needed NME Albums of the Year citation needed 1995 35Nominations For the Best Albums of the 1990s citation needed 2012 No Ripcord Top Albums 1990 1999 citation needed 2013 35Select Albums of the Year citation needed 1995 31The Wire Barnes amp Noble United States The Best Music of the 20th Century citation needed 1999 Consequence of Sound Top 100 Albums Ever citation needed 2010 79Elvis Costello 500 Albums You Need citation needed 2000 Entertainment Weekly The 100 All Time Greatest Albums citation needed 2013 78Fast n Bulbous The 1000 Best Albums of All Time citation needed 2015 568Tom Moon 1 000 Recordings to Hear Before You Die citation needed 2008 Music Underwater Top 100 Albums 1990 2003 citation needed 2004 72Nude as the News The 100 Most Compelling Albums of the 90s citation needed 1999 15Los Angeles Times Albums of the Year citation needed 1995 7Paste The 90 Best Albums of the 1990s citation needed 2012 64Pause amp Play The 90s Top 100 Essential Albums citation needed 1999 11Pitchfork Top 100 Favorite Records of the 1990s citation needed 1999 352003 20Popblerd bLISTerd Top 100 Albums of the 1990s citation needed 2012 78Rolling Stone Albums of the Year citation needed 1995 8The Essential Recordings of the 90s citation needed 1999 50 Essential Female Albums citation needed 2002 43The 100 Greatest Albums of the 90s citation needed 2010 81Women Who Rock 50 Greatest Albums citation needed 2012 38The 500 Greatest Albums of All Time citation needed 2012 3762020 289SheWired The 100 Greatest Lesbian Albums of All Time citation needed 2011 63Slant The 100 Best Albums of the 1990s citation needed 2011 2Spin Albums of the Year citation needed 1995 13Top 90 Albums of the 90s citation needed 1999 7Top 100 Albums of the Last 20 Years citation needed 2005 26The 125 Best Albums of the Past 25 Years citation needed 2010 75The 300 Best Albums of the Past 30 Years citation needed 2015 69Treble Top 100 Albums of the 90s 10 per Year citation needed 2008 3Vibe 100 Essential Albums of the 20th Century citation needed 1999 designates lists that are unordered Track listing editPost Standard editionNo TitleWriter s Producer s Length1 Army of Me Bjork Graham MasseyBjork Massey Nellee Hooper3 542 Hyperballad BjorkBjork Hooper5 213 The Modern Things Bjork MasseyBjork Massey Hooper4 104 It s Oh So Quiet Bert Reisfeld Hans LangBjork Hooper3 385 Enjoy Bjork TrickyBjork Tricky3 576 You ve Been Flirting Again BjorkBjork2 297 Isobel Bjork Marius de Vries Hooper SjonBjork Hooper5 478 Possibly Maybe BjorkBjork Hooper5 069 I Miss You Bjork Howie BBjork Howie B4 0310 Cover Me BjorkBjork2 0611 Headphones Bjork TrickyBjork Tricky5 40Total length 46 11 Post Japanese edition bonus track 201 No TitleWriter s Producer s Length12 I Go Humble Bjork Mark BellBjork Hooper4 44Total length 50 55 Post Australian and Asian limited tour edition bonus disc 65 No TitleWriter s Producer s Length1 Sweet Intuition Bjork Ken Downie Ed Handley Andy TurnerThe Black Dog Bjork4 432 Venus as a Boy Harpsichord version BjorkHooper Bjork2 133 Hyperballad Brodsky Quartet version BjorkBjork Hooper Brodsky Quartet4 204 Charlene Bjork The Black DogBjork Hooper4 44Total length 16 00 Post Surrounded DualDisc edition bonus DVD 65 No TitleLength1 Army of Me music video 4 272 Isobel music video 4 173 It s Oh So Quiet music video 4 004 Hyperballad music video 4 005 Possibly Maybe music video 5 146 I Miss You music video 4 03Total length 26 01 Notes 202 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 Garcia 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 amp Zaka Percussion and Industrial Bass Backroom Remix 1990 by Project 86 Personnel editCredits adapted from the liner notes of Post 18 Musicians edit Bjork 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 Orn 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 edit Bjork 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 edit Martin Gardiner lotus flower modelling Me Company artwork packaging design Stephane Sednaoui photographyCharts editWeekly charts edit Weekly chart performance for Post Chart 1995 1996 PeakpositionAustralian Albums ARIA 137 2Austrian Albums O3 Austria 203 13Belgian Albums Ultratop Flanders 138 5Belgian Albums Ultratop Wallonia 204 3Canada Top Albums CDs RPM 139 4Danish Albums Hitlisten 140 4Dutch Albums Album Top 100 141 5European Albums Music amp Media 150 2Finnish Albums Suomen virallinen lista 140 3French Albums SNEP 140 6German Albums Offizielle Top 100 142 6Hungarian Albums MAHASZ 153 34Icelandic Albums Tonlist 205 1Irish Albums IFPI 143 6Italian Albums Musica e Dischi 206 24Japanese Albums Oricon 154 26New Zealand Albums RMNZ 144 4Norwegian Albums VG lista 145 4Portuguese Albums AFP 146 6Scottish Albums OCC 207 2Spanish Albums AFYVE 208 24Swedish Albums Sverigetopplistan 147 2Swiss Albums Schweizer Hitparade 148 5UK Albums OCC 149 2US Billboard 200 76 32 Year end charts edit 1995 year end chart performance for Post Chart 1995 PositionAustralian Albums ARIA 209 92Austrian Albums O3 Austria 210 43Belgian Albums Ultratop Flanders 211 29Belgian Albums Ultratop Wallonia 212 39Canada Top Albums CDs RPM 213 33Dutch Albums Album Top 100 214 63European Albums Music amp Media 215 27German Albums Offizielle Top 100 216 43New Zealand Albums RMNZ 217 44Swedish Albums Sverigetopplistan 218 40Swiss Albums Schweizer Hitparade 219 50UK Albums OCC 220 361996 year end chart performance for Post Chart 1996 PositionUK Albums OCC 221 95Certifications and sales editCertifications and sales for Post Region Certification Certified units salesAustralia ARIA 222 Platinum 70 000 Belgium BEA 223 Gold 25 000 Canada Music Canada 224 Platinum 100 000 Iceland 8 333 225 Japan RIAJ 226 Gold 100 000 New Zealand RMNZ 227 Gold 7 500 Sweden GLF 228 Gold 50 000 United Kingdom BPI 229 Platinum 300 000 United States RIAA 231 Platinum 846 000 230 SummariesEurope IFPI 232 Platinum 1 000 000 Worldwide 3 000 000 233 Sales figures based on certification alone Shipments figures based on certification alone Release history editRelease dates and formats for Post Region Date Edition s Format s Label s Ref France 7 June 1995 Standard CD Mother 234 Germany 9 June 1995 142 United Kingdom 12 June 1995 CassetteCD One Little Indian 235 United States 13 June 1995 Elektra 236 Japan 16 June 1995 CD Polydor 237 Australia 26 June 1995 238 Germany 26 June 2006 Surrounded DualDisc Mother 142 United Kingdom 3 July 2006 One Little Indian 239 United States 25 July 2006 Elektra 240 Japan 7 September 2011 Standard SHM CD Universal Music 241 United Kingdom 9 March 2015 Vinyl One Little Indian 242 Various 29 January 2016 142 United Kingdom 26 April 2019 Cassette reissue 243 See also editAlbum era Media studies Music of the United Kingdom 1990s Postmodern artPortals nbsp 1990s nbsp Pop musicNotes edit Post is officially considered to be her second solo album 1 2 It is Bjork 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 Glo to the count a 1990 collaboration with Trio Gudmundar Ingolfssonar 4 References edit Lester 1996 p 72 Pytlik 2003 p 81 Layne Joslyn Bjork Gudmundsdottir Bjork Gudmundsdottir AllMusic Archived from the original on 19 April 2022 Retrieved 9 September 2016 Perlich Tim 1 November 1993 Bjork s brilliant Debut 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Medium Cool Music Videos from Soundies to Cellphones Duke University Press pp 105 106 ISBN 978 0 8223 4162 8 Retrieved 16 January 2015 Bianciotto Jordi 1 February 2008 Guia Universal Del Rock de 1990 Hasta Hoy in Spanish American Bar Association p 147 ISBN 9788496222731 Bucher Stefan 1 February 2006 All Access The Making of Thirty Extraordinary Graphic Designers Rockport Publishers pp 52 53 ISBN 1 59253 277 2 Retrieved 10 June 2016 Buckley Peter 1999 The Rough Guide to Rock Rough Guides p 97 ISBN 978 1 85828 457 6 Gordinier Jeff Weingarten Marc eds 20 April 2015 Here She Comes Now Women in Music Who Have Changed Our Lives Rare Bird Books p 78 ISBN 9781785780615 Retrieved 12 July 2016 Hoffmann Frank 2005 Encyclopedia of Recorded Sound Routledge p 218 ISBN 978 0 415 93835 8 Retrieved 28 July 2016 Lester Paul 1996 Bjork The Illustrated Story London Hamlyn p 72 ISBN 0 600 59067 4 Army of Me the first release to be taken from her second solo album proper Post Moon Tom 4 August 2008 1 000 Recordings to Hear Before You Die Workman Publishing Company ISBN 978 0 7611 3963 8 Plagenhoef Scott Schreiber Ryan eds November 2008 The Pitchfork 500 Simon amp Schuster pp 127 128 ISBN 978 1 4165 6202 3 Poynor Rick 2006 Designing Pornotopia Travels in Visual Culture Laurence King Publishing ISBN 978 1 56898 607 4 Pytlik Mark 2003 Bjork Wow and Flutter ECW Press ISBN 1 55022 556 1 Salaverri Fernando September 2005 Solo exitos ano a ano 1959 2002 in Spanish 1st ed Madrid Fundacion Autor SGAE ISBN 84 8048 639 2 Simpson Paul 12 January 2004 The Rough Guide to Cult Pop Rough Guides p 97 ISBN 978 1 84353 229 3 Whitburn Joel 2004 Hot Dance Disco 1974 2003 Record Research p 35 Wolk Douglas 2004 Bjork In Brackett Nathan Hoard Christian eds The New Rolling Stone Album Guide 4th ed Simon amp Schuster pp 73 74 ISBN 0 7432 0169 8 External links editPost at Discogs list of releases Retrieved from https en wikipedia org w index php title Post Bjork album amp oldid 1200136527, wikipedia, wiki, book, 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