Back in 2004, when I read Alex Ross’s New Yorker profile of Bjork, I was largely unaware of previous criticism of her last album, Vespertine. Ross’s profile introduced me to Bjork’s extensive and thoughtful creative process, painting a vivid portrait of the artist crafting beats and sounds on her laptop, a catalogue of tunes to weave together for the final product.
Back in 2004, when I read Alex Ross’s New Yorker profile of Bjork, I was largely unaware of previous criticism of her last album, Vespertine. Ross’s profile introduced me to Bjork’s extensive and thoughtful creative ...