What amazed me the most was all the hard work and memories. It was a new experience for me to listen to much of this music. The tracks are from my entire career, not just my solo career.

In one sense, it was very weird to rediscover this music. At the same time, it was something I needed to do. It shows how I got from there to here, it shows my learning curves, it shows how I've developed as a musician. I spent six months digging through my archives. While it didn't feel like hard work at the time, it was hard work listening to my old recordings, kind of like doing homework.

For me, working on 'Family Tree' was like spring cleaning, complete with nostalgic, boring and mushy moments. But ultimately, it was liberating to have an absolutely clean attic. Now, I have a brand-new chalkboard on which to work.


GREATEST HITS

  01

all is full of love

02

hyperballad

03

human behaviour

04

jóga

05

bachelorette

06

army of me

07

pagan poetry

08

big time sensuality

09

venus as a boy

10

hunter

11

hidden place

12

isobel

13

possibly maybe

14

play dead

15

it's in our hands

FAMILY TREE

++

EXTRA


 

FAMILY TREE PLATES
 
[01] Telepathy
[02] Uppspretta
[03] The conquest of the polyconsoler
[04] A fortiori
[05] Rhapsody
[06] Temper examples
[07] Balderdash
[08] Operazione Morizia
[09] The elliptic mouthed illusionist
[10] The bottom seeker
[11] The core
[12] Equilibrium
[13] Portrait of denial
[14] Mjaldur
[15] Elliptics
[16] Fernando
[17] Halfman halfbeast
[18] Simplicity
[19] The bottle run
[20] Terrific snowman
[21] Zahir
[22] Attack of the minor-complex bacteria
[23] M.I.R
[24] Melancholy
[25] Reason
[26] Sculptor
[27] Operazione pane
[28] Sculptor

Read more about the plates in the Extra page!

Family Tree : A taxonomy of songs

The artwork for Family Tree is by an Icelandic friend, a sculptor named Gabriela. Like me, she has four chambers in her which we call "roots," "beats," "strings" and "words." So I used this for the taxonomic structure of Family Tree… To bring together roots, beats, strings, and words, to unite all these opposing sytems, is to be a medium between disparate worlds trying to unite history, the present and the environment into a song on the radio, in a possible moment of utopia…

Roots
Where we come from, the ancient things in us - in my case, stubbornness and patriotism; enthusiasm for Iceland, the culture and the natural physical environment; old-woman melodies and indigenous punk rock; my voice. Appears here in songs representing some of the biggest leaps and discoveries in my harmonic development from the age of fifteen until now…


Beats
Our craving for modern times - in my case, the desire to unite with the new and unknown, the alien and taboo by merging my voice with foreign electronic beats. With this experience, I could then try to develop a peculiarly “Icelandic” electronic rhythm. Appears here as some of the first experiments I made around 1990 with English electronic beatmakers Graham Massey and Mark Bell…

Strings
Our struggle with education and all things academic—in my case, ten years of classical music training where I was force-fed German composers then spent the next fifteen battling them: if we were going to invent a new Icelandic modern musical language then where did Brahms and Beethoven come into it? After all these years, string arrangements have enabled me to unite my musical universe with the academic one. Appears here as my collaborations with the Brodsky quartet in 1995…

Words
How we use words to tell stories about different emotional states—in my case, I always felt that I was first a music-maker using words as signposts for the music; no mood is inferior, every emotion can be defended; I can write songs in a spontaneous, flippant mood or I can focus on more complex structures that require a whole notebook of thoughts compressed into a few verses. Appears here as a selection of my lyrics over time…
   

ROOTS CD1

details

One Sídasta Ég 1984
Written by Björk, G.K. Ottarsson, Thor Eldon. Orginal production by: Björk, G.K. Ottarsson. Guitar by G.K. Ottarsson. Engineered by Mel Jefferson. Mixed by Jim Abbiss.

Two Glóra 1980
Written by Björk. Production and flute by Björk. Engineered by Mel Jefferson.
Mixed by Jim Abbiss.
three Fuglar 1983
Written by Kukl. Produced by Kukl. Engineered by Tony Cook.
Four Ammæli 1986
Written by The Sugarcubes. Produced by Ray Schulman & Derek Birkett.
Five Mamma 1987
Written by The Sugarcubes. Produced by Ray Schulman & Derek Birkett.

ROOTS CD2

details

One Immature 1996
Written by Björk. Piano by Björk. Produced by Björk.
Mixed by Mark <Spike> Stent. Engineered by Markus Dravs.

Two Cover Me 1995
Written by Björk. Produced by Björk & Nellee Hooper. Engineered by Howie Bernstein. Assistant Engineer Oswald <Wiz> Bowe. Programming by Marius de Vries. Keyboards: Björk
Three Generous Palmstroke 2000
Written by Björk & Zeena Parkins. Harp by Zeena Parkins. Live recording by Kevin Pruce at the Santa Cecilia di Academia, Rome, 10 November 2001. Produced by Björk. Mixed by Valgeir Sigurdsson.
Four Jóga (Strings & Vocals) 1996
Written by Björk & Sjón. Produced by Björk & Mark Bell. Mixed by Howie B.
Five Mother Heroic 2001
Written by Björk & Guy Sigsworth. Lyrics taken from the poem <Belgium> by E.E. Cummings. Celeste by Guy Sigsworth. Pro tools: Yan <Stan> Kybert. Engineered by Valgeir Sigurdsson. Mix Engineer Paul <P-Dub> Walton. Assisted by Matt Fields & David Treahearn. Mixed by Mark <Spike> Stent. <Belgium> the lines from <Oh Thou That Bowest Thy Ecstatic Face>, copyright 1925, 1953 © 1991 by the trustees for the E.E. Cummings Trust, Copyright © 1976 by George James Firmage, from: Complete Poems: 1940-1962 by E.E. Cummings, edited by George J. Firmage. Used by permission of Liveright Publishing Corporation.

BEATS

details

One The Modern Things 1991
Written by Björk & Graham Massey. Original demo produced by Björk & Graham Massey. Programming by Graham Massey. Keyboards by Graham Massey & Björk. Mix Engineer Graham Massey.

Two Karvel 1994
Written by Björk & Graham Massey. Produced & mixed by Graham Massey. Engineered by Markus Dravs.
Three I Go Humble 1995
Written by Björk & Mark Bell. Programming by Mark Bell & Marius de Vries. Keyboards: Mark Bell. Recording engineers Mark Bell & Alan Fisch. Assistant engineer Oswald <Wiz> Bowe. Mix Engineer Howie Bernstein.
Four Nature Is Ancient 1997
Written by Björk & Mark Bell. Produced by Björk & Mark Bell. Recorded by Markus Dravs. Mixed by Mark <Spike> Stent.

STRINGS CD1

Björk & Brodsky Quartet: Live & Studio recordings, 1999/2000.

One Unravel
Written by Björk & Guy Sigsworth. String arrangements written by Brodsky Quartet.
Mixed by Jake Davies.

Two Cover Me
Written by Björk. String arrangements written by Brodsky Quartet. Mixed by Jake Davies.
Three Possibly Maybe
Written by Björk, Nellee Hooper & Marius de Vries String arrangements written by Brodsky Quartet. Mixed by Jake Davies.
Four The Anchor Song
Written by Björk. String arrangements adapted for string quartet by Brodsky Quartet. Mixed by Jake Davies.
Five Hunter
Written by Björk. String arrangements written by Brodsky Quartet. Mixed by Jake Davies.

STRINGS CD2

Björk & Brodsky Quartet: Live & Studio recordings, 1999/2000.

One All Neon Like
Written by Björk. String arrangements written by Brodsky Quartet. Mixed by Jake Davies.

Two I've Seen It All
Written by Björk, Sigurjon Birgir Sigurdsson & Lars Von Trier. Mixed by Jake Davies, Valgeir Sigurdsson & Björk.
Three Bachelorette
Written by Björk & Sigurjon Birgir Sigurdsson. String arrangements adapted for string quartet by Brodsky Quartet. Mixed by Jake Davies, Valgeir Sigurdsson & Björk.
Four Play Dead
Written by Björk, David Arnold & Jah Wobble. Mixed by Jake Davies.
Family Tree CD1
greatest hits as chosen by björk
4 nov 2002. cd in pink pvc case
01. venus as a boy
02. hyperballad
03. you've been flirting again
04. isobel
05. jóga
06. unravel
07. bachelorette
08. all is full of love
09. scatterheart
10. i've seen it all
11. pagan poetry
12. it's not up to you
Roots  CD2
3"cd in paper slip
01. sídasta ég (1984)
02. glóra (1980)
03. fuglar (1983)
04. ammæli (1986)
05. mama (1987)
Roots  CD3
3"cd in paper slip
01. immature (1996)
02. cover me (1995)
03. generous palmstroke (2000)
04. jóga (Strings&Vocals) (1996)
05. mother heroic (2001)
Beats  CD4
3"cd in paper slip
01. the modern things (1991)
02. karvel (1994)
03. i go humble (1995)
04. nature is ancient (1997)
Strings  CD5
3"cd in paper slip
01. unravel
02. cover me
03. possibly maybe
04. the anchor song
05. hunter
Strings  CD6
3"cd in paper slip
01. all neon like
02. i've seen it all
03. bachelorette
04. play dead
Words booklet
björk's own favourite lyrics

01. all is full of love
02. aurora
03. cocoon
04. cover me
05. headphones
06. human behaviour
07. hyperballad
08. jóga
09. pagan poetry
10. pluto
11. scatterheart
12. the anchor song
13. the modern things
14. unravel
15. venus as a boy
16. all neon like
 

KUKL
"Before the Sugarcubes I was in K.U.K.L., a punk band, and that was much more important to me. The KUKL-period taught me a lot of valuable lessons in a quick and violent way. That band really changed me.  Then in 1986, the label went bankrupt and Kukl quit and I was heartbroken. Crying for days. Much more upset than I've been over any boyfriend. But things began to happen. I bought a house with my then boyfriend and I had a kid. Our house became like a cafeteria for all these people looking for something new to do. And we formed this organisation called Bad Taste, where we reacted against all this punk dressing down and being socially correct. We wore pink and encouraged irresponsibility and had these mottoes like 'World Domination Or Death'. Einar drove a huge, impractical convertible and everyone hated us. It was a magical time, and out of this grew the Sugarcubes."
 
"When I was in the punk band Kukl with Einar, that was fucking therapy; every gig was like cutting your chest open and tearing out your heart. It just became ridiculous after a while."

THE SUGARCUBES
"It was a hobby really. We'd all get drunk at weekends and write these weirdo pop songs and then when we had enough we could go on holiday as The Sugarcubes. It was just a group of friends travelling all over the world and thinking, 'this is crazy'. Nobody expected to last even as long as it did."

"Folks might say something went wrong with the Sugarcubes. Not so! We had worked together as a unit since we were 14, 15 years old - we'd done all these different things together and always stuck by each other no matter what. We've been arrested, been thrown in jail together."

"The Sugarcubes were attracted to each other because we were all extreme people. We always had a good time, even if we were stuck in a boring German suburb eating cold hamburgers. The music was secondary, so we didn't have this big musical ambition to be brilliant. I could be in the background and write my melodies and lyrics and then watch how the music turned out. Plus I got the chance to travel all the time and see how other bands function, which taught me a lot. Fame was not in our plan but at the same time, we enjoyed it. It was a happy accident. The Sugarcubes people will support each other until the ay we die. And we are also each other's hardest critics. Like, I'll send my record to the bass player and he will tell me it's crap, you know? And he sends me his poetry."

"Sugarcubes, number one was people. We liked each other and we had a good time together and the music that came out of that relationship was a bit of an accident. When I realized the Sugarcubes had become this serious band-thing, I started to realize that it was now or never. If I didn't record all those songs I'd written in my head, then it would never do it."

© bjork.com 2002