In the Nineties my father liked Björk so much that one day my brother and I sellotaped a photo of her on his back. He managed a whole trip to the dentist before he realised it was there. Despite our mockery, we rather liked having a dad with cooler music taste than us. Had Dad been asked why he liked Björk, he would have said with characteristic economy that she sounded like no one else. This is still the case. Björk is one of the holy trinity of musicians, along with Joni Mitchell and Kate Bush, to whom any half-decent new female singer-songwriter gets compared – yet there has never been anyone like her. Still, she can be heard everywhere. Her third album Homogenic was released 25 years ago; if it sounds like it was made yesterday, it’s only because people are still programming records like this a quarter of a century later.
Released on 20 September 1997, Homogenic is the album on which the whole concept of Björk was brought into focus. “It’s very much grabbing the collar of people’s jumpers,” she told Mojo at the time, “then telling them, look in my eye, this is what I have to say, thank you very much, now see you later.”
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