{"id":39575,"date":"2005-12-21T00:00:00","date_gmt":"2005-12-21T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/debut\/"},"modified":"2005-12-21T00:00:00","modified_gmt":"2005-12-21T00:00:00","slug":"debut","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/debut\/","title":{"rendered":"Debut"},"content":{"rendered":"

<\/p>\n

Artists who break from their bands and release solo
\nalbums usually have a negative track record. Even if their first
\nsolo album may be all right, they usually leave a path of
\nunderwhelming releases. Look at David Lee Roth, Paul McCartney,
\nRichard Ashcroft and Pras from the Fugees. Still, there are some
\nvoices who naturally grow out of the confines of the band they
\njoined when they first entered the music world, such as the case of
\nBjork.<\/p>\n

Before opting for a solo career, Bjork was a favorite
\namong music geeks for her work with cult faves The Sugarcubes.
\nHowever, tensions drove the band to dissolve in 1992 and Bjork
\nstarted working with Nellee Hooper, who went on to produce albums
\nfrom Massive Attack and Madonna. It should be said that even though
\nBjork’s album is titled Debut<\/i>, technically, this is not
\nBjork’s ‘debut’ album. That album came in 1977 (when Bjork was 11)
\nand featured covers of children’s tunes, sung in her native
\nIcelandic language. But for the sake of Bjork’s post-Sugarcubes
\ncareer, let’s assume that Debut<\/i> was called Debut<\/i> for
\na reason: it was to introduce (or reintroduce) Bjork to the
\nworld.<\/p>\n

Debut<\/i> had to meet the challenge of defining
\nBjork as someone other than “Sugarcubes singer.” More abstractly,
\nDebut<\/i> also had a challenge in providing some much-needed
\nhumanity in the perceived sterile environment of dance and
\nelectronica, but she wasted no time in injecting humanity into the
\ndance\/electronica songs on Debut<\/i>.<\/p>\n

Debut<\/i> also established Bjork as a visual
\nartist. The video for “Human Behavior” featured a gigantic stuffed
\nbear chasing Bjork in a world that looked like it was lifted from a
\nsix-year-old’s nightmare. The song wasn’t too remarkable; however,
\nthe video helped lodge the song into people’s heads. With that song
\nattracting some attention, listeners were able to warm up to the
\norchestral softness of “Like Someone In Love” and “One Day.” They
\nalso were treated to the insanely addictive “Big Time Sensuality”
\nand “Violently Happy” (one of the best song titles of all
\ntime).<\/p>\n

The final accomplishment of Debut<\/i> was its
\nindirect marring of Rolling Stone<\/i>‘s credibility as a
\nreliable resource for album reviews. They made some goofs before —
\ngiving both Nirvana’s Nevermind<\/i> and Sonic Youth’s
\nDaydream Nation<\/i> a ho-hum three-star review when they first
\ncame out, only to eat their words years later. But they gave
\nDebut<\/i> a ghastly one-and-a-half star review on their first
\nreview of the album. Critics are free to change their mind (God
\nknows I’ve had my share of about-faces), but it remains one of
\nRolling Stone<\/i>‘s most embarrassing moments.<\/p>\n

Debut<\/i> ensured that Bjork would have a career
\nthat would far outlast The Sugarcubes. In addition, the album was
\nthe first of three flat-out classic releases from Bjork. Perhaps
\nthe most important accomplishment of Debut<\/i> was its brought a
\nworld of imagination into the world of electronica. The human heart
\nand the hard drive no longer seemed incompatible.<\/p>\n

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