Albums solo



1. Hidden Place (5:29)
2. Cocoon (4:27)
3. It’s Not Up To You (5:09)
4. Undo (5:38)
5. Pagan Poetry (5:14)
6. Frosti (1:41)
7. Aurora (4:39)
8. An Echo A Stain (4:04)
9. Sun In My Mouth (2:40)
10. Heirloom (5:12)
11. Harm Of Will (4:36)
12. Unison (6:47)

Sortie Août 2001

Titre inédit (édition japonaise)

- Generous Palmstroke (04:24)


Vespertine : de "vèpres", prières du soir chantées par les moines.

Björk avait prévu dès la fin d’Homogenic, de faire un album qui serait en quelque sorte son contraire, calme et intime. Après avoir développé des contacts avec de nouveaux collaborateurs tout en réalisant la bande originale de Dancer in the Dark, elle se consacre à la production de Vespertine, qui sera ce successeur d’Homogenic.

Homogenic, for me, was very emotionally confrontational and was very dramatic, both in the melodic sense of the strings and the distorted beats. Everything on 11... a lot of steroids in the air. Vespertine is sort of the opposite. Very introverted, very quiet and calm and peaceful, and at peace with one’s self.
After being obsessed with reality and darkness and always thinking everything else is bullshit, you know, suddenly thinking to invent a paradise isn’t necessarily a bad thing. I used to always think that was escapism. This record is very much about inventing your own paradise, but underneath your kitchen table, so it’s very secretive. It’s sort of about being on your own in your house with your laptop and whispering for a year and just writing a very peaceful song that tiptoes. It’s all about reaching those euphoric highs and those ecstasy moments, but with no outside stimulates. All it takes is inside you. I’m quite aware it’s an artificial paradise, so it almost went Disney at times — you know, when you see pink Bambi jumping about ? Those types of things. I don’t think there are very many pink Bambis on Homogenic.
Vespertine is sort of a winter album for me. I think Homogenic was very summer, very hot, burning desert. Maybe ’cause I did it in Spain ; it might be something as simple as that. But this one’s like ... those days when it’s snowing outside, and you’re inside with a cup of cocoa and everything’s very magical. You’re euphoric, but you don’t speak for days ’cause you don’t want to.

source : MTV news, mars 2001

Pour réaliser cet album, Björk et ses collaborateurs ont effectué une myriade de prises de son à partir de différents matériaux, objets, etc : jeux de cartes, pas dans la neige, craquements de bois, statique sur des cheveux...

It’s not up to you devait sortir en quatrième single (l’autocollant présent sur Vespertine le présentait comme un prochain single), mais la grossesse de Björk a précipité la fin d’exploitation de l’album, et la sortie a été annulée.

Frosti apparait en version intégrale (un peu plus de deux minutes) sur la cassette de Vespertine (Frosti termine la Face A, et Aurora commence la Face B)

Une chanson intitulée "A different Kind Of love" a été composée pour l’album. c’est peut etre une chanson qui a changé de nom ou bien une chanson restée inédite.
source : Article Dazed&Cconfused, 2000

la chanson It’s in our hands a été écrite pendant les sessions Vespertine, mais a été écartée car fut considérée comme trop énergique et ne correspondant pas à l’ambiance de l’album.

Björk à propos de l’album

"Je pense qu’avec Vespertine, j’essayais de faire un album introverti, qui n’était pas physique. Qui soi non-physique, plus sur le processus de la pensée, et l’électricité des pensées qui traversent la tête. C’est très proche du fonctionnement d’Internet, c’est juste de l’électricité, du cérébral, des pensées. Les paroles étaient chuchotées, quand on est seul à la maison, à lire un livre. Donc non-physique."
source : Eclectik (france inter) - 31/08/2004

After I’d done me album, I wrote my manifesto where I describe the character who did vespertine and it’s a fictional character. I sent the same manifesto to all three video directors.
Also what was common with all three was that for all three it was their first music video, even though they had a lot of experience in another field. And I think probably I was very collaborative with all three.
Vespertine is an album made by a character who’s very introvert. And it’s about the universe inside every person. This time around, I wanted to make sure that the scenery of the songs is not like a mountain or a city or outside, it’s inside, so it’s very internal.
So I guess all three videos are very internal. They’re about sewing things in your skin, or things that were yours first, like the bodily fluids, going in and outside you. Sort of how you communicate with the world in a very intimate, personal way. Or where something outside affects you so hard that you fall in love and things grow out of you. So, yeah, I think there was a certain theme in the three videos.
source : conférence de Presse, japon, 2001

"Vespertine is like... those days when it’s snowing outside, and you’re inside with a cup of cocoa and everything’s very magical. You’re euphoric, but you don’t speak for days ’cause you don’t want to."
source  :

"Vespertine was very influenced by my laptop, and about people being obsessed with Napster and saying it compromised sound and me thinking that was rubbish. Alot of the beats were influenced by me thinking someone could download it and it would sound great."
source : Fader, juin 2001

"Much of Vespertine, which takes its name from vespers, evening prayers, is inspired by chamber music. It’s the kind of music, Björk says, that ladies would play in drawing rooms for guests"
source : Nylon Magazine, 2001

"We all have different moods, sometimes you’re very social and talkative, sometimes you’re very silent and want to go home to your bed and read a book. It’s important to respect and live both these sides, both these moods in us. And that music can be both.
I think a lot of people look at the times they would rather be at home, read a book as not very... uhm.. They are ashamed of them, you know, like it’s problematic. I don’t agree with it, I think it’s one of the most wonderful moments we have. It’s privacy. And I think it’s about time that somebody celebrates it. And that it’s pop music like that that when you come home and put on when you’re in the same mood as if you would like to just be in bed and read a book."
source : DRS3, août 2001

" wanted to create a new audio world for this album that’s kind of more like chamber music. Modern chamber music. Not amplified, kinda steroid, Marshall stack, if I stand here I hope someone in China can hear me. It’s the opposite of that. Homogenic was as steroid as I will ever get."
source : Q magazine, juin 2001

"A word that helped me a lot making this record was "hibernation." Being internal is a form of hibernation, and I related it to winter, the sound of crystals in wintertime. That’s what I wanted this album to sound like."
source :, 10 octobre 2001


Composition, Ecriture : Björk, Guy Sigsworth , Harmony Korine , Martin Console , Thomas Knak , E.E Cummings
Boites à musique : Jack Perron
Arrangements orchestre et choeurs : Björk, Vince Mendoza
Programmations : Björk, Matmos, Matthew Herbert, Damian Taylor, Jake Davies, Valgeir Sigurdsson, Thomas Knak, Marius de Vries
Harpe , arrangements harpe : Zeena Parkins
Claviers  : Guy Sigsworth
Ingénieur du son : Mark ’spike’ Stent


Photo : Inez+Vinoodh
Design, Illustrations : M/M (Paris)
Stylisme : Marjan Pejoski