{"id":7958,"date":"2023-05-12T11:00:00","date_gmt":"2023-05-12T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/homogenic-bjork-2\/"},"modified":"2026-11-09T07:13:42","modified_gmt":"2026-11-09T06:13:42","slug":"homogenic-bjork-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/homogenic-bjork-2\/","title":{"rendered":"Homogenic – Bj\u00f6rk"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Estudio en M\u00e1laga, cuerdas islandesas, un solo sonido<\/h3>\n

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El 22 de septiembre de 1997, One Little Indian public\u00f3 el tercer \u00e1lbum de estudio de Bj\u00f6rk, Homogenic. El primer tema es Hunter<\/em>. Abre con beats entrecortados y cuerdas en l\u00edneas largas. Hab\u00eda pedido un solo sabor. El \u00e1lbum pone bater\u00edas electr\u00f3nicas contra cuerdas formales. La voz no est\u00e1 endulzada y no queda enterrada en la mezcla.<\/p>\n

La elecci\u00f3n del estudio era pr\u00e1ctica. Tras la atenci\u00f3n alrededor de Post<\/em> y el set de remixes Telegram<\/em>, el bater\u00eda de gira Trevor Morais ofreci\u00f3 El Cortijo, su estudio cerca de M\u00e1laga, en San Pedro de Alc\u00e1ntara. Pensaba pasar, conocer al guitarrista flamenco Raimundo Amador y marcharse. Se qued\u00f3 e hizo el disco all\u00ed, con trabajo posterior en su casa de Londres. Se apart\u00f3 de Nellee Hooper, que hab\u00eda dado forma a Debut<\/em> y Post<\/em>. Mark Bell de LFO se convirti\u00f3 en el interlocutor electr\u00f3nico capaz de sorprenderla. Guy Sigsworth, Howie B y el ingeniero Markus Dravs est\u00e1n en los cr\u00e9ditos. El encargo: un solo sonido, con un grupo peque\u00f1o de productores.<\/p>\n

Las canciones mantienen ese sonido sin copiar un solo arreglo. J\u00f3ga<\/em>, escrita para una amiga y publicada como primer single el 15 de septiembre de 1997, pone una promesa sobre cuerdas que crecen. El v\u00eddeo de Michel Gondry la sigue por Islandia, con el paisaje en el plano. Unravel<\/em> es m\u00e1s peque\u00f1o: acorde\u00f3n y un coraz\u00f3n descrito como ovillo que el diablo recoge. Bachelorette<\/em>, arreglada en parte con Eumir Deodato dirigiendo donde ella no se arregl\u00f3 sola, es el gran momento esc\u00e9nico del \u00e1lbum, y ella a\u00fan lo canta derecho. El Icelandic String Octet toca en todo el disco, como una segunda voz del arreglo.<\/p>\n

All Neon Like<\/em>, 5 Years<\/em>, Immature<\/em>, Alarm Call<\/em>, Pluto<\/em>: la segunda mitad mantiene los ritmos secos y las cuerdas formales, que es el contraste que el \u00e1lbum mantiene. Nick Knight fotografi\u00f3 la portada. Alexander McQueen construy\u00f3 el vestido. El reshoot retras\u00f3 el lanzamiento. La portada encaja con la m\u00fasica: ninguna de las dos busca una superficie bonita. Homog\u00e9neo, hab\u00eda dicho. Un sabor. El \u00fanico sabor que hab\u00eda pedido result\u00f3 ser ese contraste, sostenido en un \u00e1lbum.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

\n

Homogenic es su disco m\u00e1s emocional, m\u00e1s cargado y m\u00e1s groovy, y tambi\u00e9n un triunfo fulminante del esp\u00edritu de aventura.<\/p>\n<\/blockquote>\n

(Ted Kessler, NME, 1997)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb7955″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790421154{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

All Is Full of Love<\/em>, producido con Howie B, cierra el \u00e1lbum, y el tema queda abierto al final. El v\u00eddeo de Chris Cunningham de 1999, dos robots bes\u00e1ndose en un decorado blanco vac\u00edo, se convirti\u00f3 en la imagen que mucha gente vio despu\u00e9s del \u00e1lbum y record\u00f3 primero. La gira ya hab\u00eda empezado en septiembre de 1997, a veces antes de que el p\u00fablico conociera las canciones, con Mark Bell a su lado y, m\u00e1s tarde, las cuerdas. Una infecci\u00f3n de ri\u00f1\u00f3n cancel\u00f3 las fechas americanas aquel oto\u00f1o. En 1998 se anunci\u00f3 una gira con Radiohead y luego se cay\u00f3 porque los escenarios no cambiaban limpio. El disco viaj\u00f3 igual.<\/p>\n

Tras Debut<\/em> y Post<\/em>, que met\u00edan muchos sonidos de fuera, hizo un disco con un solo marco. Las bater\u00edas electr\u00f3nicas siguen duras junto a los violines, y los violines siguen ac\u00fasticos. Pitchfork trat\u00f3 despu\u00e9s el \u00e1lbum como un hito. En J\u00f3ga<\/em> o Unravel<\/em>, bater\u00edas electr\u00f3nicas y cuerdas siguen en el mismo arreglo. Mantuvo ese arreglo, dentro del mismo disco, del primer tema al \u00faltimo.<\/p>\n

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