Born 21 November 1965 in Reykjavík, Iceland, Björk Guðmundsdóttir is a prolific singer, songwriter, producer, musician and actress who has been involved in music since the age of eleven. After becoming famous in Iceland for her renditions of songs by such artists as Tina Charles and The Beatles she joined a string of Icelandic rock bands: Tappi Tíkarrass, KUKL and The Sugarcubes, the last of which gained a popular following outside Iceland.

Her solo work since 1991 spans the genres of rock, dance, electronic, jazz, ambient, trip-hop and classical.

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Born 21 November 1965 in Reykjavík, Iceland, Björk Guðmundsdóttir is a prolific singer, songwriter, producer, musician and actress who has been involved in music since the age of eleven. After becoming famous in Iceland for her renditions of songs by such artists as Tina Charles and The Beatles she joined a string of Icelandic rock bands: Tappi Tíkarrass, KUKL and The Sugarcubes, the last of which gained a popular following outside Iceland.

Her solo work since 1991 spans the genres of rock, dance, electronic, jazz, ambient, trip-hop and classical.

She is known for her avantgarde persona, her musical experimentation and sophistication, and her collaborations with many musicians, including 808 State, Thom Yorke, Tricky, Plaid, Matmos, Mark Bell, Hilmar Örn Hilmarsson (HÖH) of Psychic TV, and David Tibet of Current 93.

Björk first came to prominence as one of the lead vocalists of the avant-pop Icelandic sextet the The Sugarcubes, but when she launched a solo career after the group’s 1992 demise, she quickly eclipsed her old band’s popularity. Instead of following in the Sugarcubes’ arty guitar rock pretensions, Björk immersed herself in dance and club culture, working with many of the biggest names in the genre, including Nellee Hooper, Underworld, and Tricky. Debut, her first solo effort (except for an Icelandic-only smash released when she was just 11 years old), not only established her new artistic direction, but it became an international hit, making her one of the ’90s most unlikely stars.

Though the title of Debut implied that it was Björk’s first-ever solo project, she had actually been a professional vocalist since she was a child. When she was in elementary school in Reykjavik, she studied classical piano and, eventually, her teachers submitted a tape of her singing I love to love to Iceland’s Radio One. After “I Love to Love” was aired, a record label called Falkkin offered Björk a record contract. At the age of 11, her eponymous first album was released; the record contained covers of several pop songs, including the The Fool on the Hill and boasted artwork from her mother and guitar work from her stepfather. Björk became a hit within Iceland and was not released in any other country.

Björk’s musical tastes were changed by the punk revolution of the late ’70s; in 1979, she formed a post-punk group called Exodus and, in the following year, she sang in Jam 80. In 1981, Björk and Exodus bassist Jakob Magnusson formed Tappi Tíkarrass, which released an EP, Bitid Fast I Vitid, on Spor later that year; it was followed by the full-length Miranda in 1983. Following Tappi Tikarrass, she formed the goth-tinged post-punk group KUKL with Einar Örn Benediktsson. KUKL released two albums, The Eye (1984) and Holidays in Europe (1986), on Crass Records before the band metamorphosed into The Sugarcubes in the summer of 1986.

The Sugarcubes became one of the rare Icelandic bands to break out of their native country when their debut album, Life’s Too Good, became a British and American hit in 1988. For the next four years, the group maintained a successful cult following in the U.K. and the U.S. while they were stars within Iceland. During 1990, Björk recorded a set of jazz standards and originals with an Icelandic bebop group called Trio Gudmundar Ingolfssonar. The album, Gling-Gl?, was released only in Iceland. By 1992, tensions between Björk and Einar had grown substantially, which resulted in the band splitting apart.

Following the breakup of the group, Björk moved to London, where she began pursuing a dance-oriented solo career. The previous year, she had sung on Ooops, which sparked her interest in club and house music. Björk struck up a working relationship with Nellee Hooper, a producer who had formerly worked with Soul II Soul and Massive Attack. The first result of their partnership was Human Behaviour which was released in June of 1993. “Human Behaviour” became a Top 40 hit in the U.K., setting the stage for the surprising number three debut of the full-length album, Debut. Throughout 1993, Björk had hit U.K. singles — including “Venus as a Boy,” “Big Time Sensuality,” and the non-LP “Play Dead,” a collaboration with David Arnold taken from the film Young Americans — as well as modern rock radio hits in the U.S., and in both countries she earned rave reviews. At the end of the year, NME magazine named Debut the album of the year, while she won International Female Solo Artist and Newcomer at the BRIT Awards; Debut went gold in the U.S. and platinum in the U.K.

During 1994, Björk was relatively quiet as she recorded her second album with Nellee Hooper, Tricky, 808 State’s Graham Massey, and Howie B of Mo’ Wax Records; she also released a remix EP, co-wrote the title track for Bedtime Stories, and performed on MTV Unplugged that same year. Army of Me, the first single from Björk’s forthcoming album, was released as a teaser single in the spring of 1995; it debuted at number ten in the U.K. and became a moderate alternative rock hit in the U.S. Post, her second album, was released in June of 1995 to positive reviews; it peaked at number two in the U.K. and number 32 in the U.S. Post matched its predecessor in terms of sales and praise, going gold in the U.S. and helping her earn her second BRIT Award for Best International Female Artist. Post yielded the British hit singles “Isobel” (number 23), “It’s Oh So Quiet” (number four), and “Hyperballad” (number eight), yet her singles failed to make much headway on American radio or MTV. Late in 1996, she released Telegram, an album comprising radical remixes of the entire Post album, in the U.K.; Telegram was released in America in January 1997.

Homogenic followed later that same year and spawned many remix releases in the next few years to follow. In the spring of 2000, she was named Best Actress by jurors at the Cannes Film Festival for her work in Lars von Trier’s Palme d’Or-winning Dancer in the Dark. Selmasongs, her score for the film, reunited Björk with her Homogenic collaborator Mark Bell and arrived in the fall of 2000, just in time for Dancer in the Dark’s U.S. release. The full-length follow-up, Vespertine, was released one year later. Verspertine featured collaborations with electronic duo Matmos handling intricate micro-beats while Bjork layered her voice in melodic, lyrical passages. She released a Greatest Hits collection and the Family Tree box set late in 2002. After performing a few dates in 2003, Björk geared up for a busy 2004, which included the release of her all-vocals and vocal samples-based album Medulla and a performance of one of its songs, “Oceania,” at the 2004 Summer Olympics in Athens, Greece. The soundtrack to Drawing Restraint 9, a film by multimedia artist Matthew Barney, arrived in 2005 and also featured contributions from Will Oldham. Bjork also starred in the film, which would never see a DVD release and is only viewable in select art museums. Her next album, Volta, was released in May 2007 and the first single of the album, “Earth Intruders,” was released digitally on April 9, 2007. Volta features collaborations with Timbaland, Mark Bell, and Antony Hegarty of Antony and the Johnsons.

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