Although it's difficult for artists not to be trampled in the pre-Yuletide commercial (gold)rush (as Pulp are learning the hard way), BJORK's self-explanatory "Greatest Hits" selection is an intriguing, quality-enhanced release that holds its' own happily amongst the cash cows.
A little different to the run of the mill 'hits' collections currently hassling wallets out there, the fifteen (non-sequential) tracks here were actually voted for on the web, and thus represent the fans truly having their say.
Actually, from this writer's point of view, this is especially laudable, as "Greatest Hits" happily omits "It's Oh So Quiet": a song that may have opened doors aplenty for Bjork (and it does have a corking video, I grudgingly admit), but one which this individual finds intensely nauseating. Consequently, being spared giving it a further dissing is welcome.
The downside is that "Greatest Hits" also shaves off a couple of other excellent single cuts - notably "Violently Happy": a different kind of psychosis and one your reviewer would have been delighted to relive.
Nonetheless, unlike most of these fleece 'em first releases, "Greatest Hits" represents a democracy of sorts, and to quibble unneccessarily about track listings would be to ignore the Aladdin's Cave of riches on offer. After all, who of sound mind could seriously write off tracks like the mellifluous "All Is Full Of Love"; the dramatic kettle drum crescendoes of "Human Behaviour" and the icy, string-drenched "Joga" ?
Besides, before long you find yourself dropping the critical facade and simply choosing favourites, such is the quality of Bjork's output. Even minus the bizarre, Gorilla dentist video, the brodding synths of "Army Of Me" kick in, while th FLUKE remix of "Big Time Sensuality" gives it an exhilarating whoomph and the wonderfully spiky minimalism of "Venus As A Boy" coaxes that remarkable voice to fly entirely unimpeded.
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Because, at the end of the day, her remarkable tonsils will always set Bjork apart from the herd. After all, however seductive the post-modern technological synth sheen is here (and it is), it's Bjork's presence that brings these otherworldly soundscapes to life. Critical mass often suggests that the Buckleys do for the voice what Hendrix did for the electric guitar and surely Bjork is a contender for the female counterpoint to this equation.
Kissing off with a welcome re-run of the under-rated David Arnold collaboration "Play Dead" from (wow!) 19993 and the recent single "It's In Our Hands" - suggesting she remains in viciously good nick - the fifteen tracks here provide an exciting ride on a career-retrospective rollercoaster most artists would savage their terriors for.
"Greatest Hits" then. Simply titled and daringly executed. Bjork's strange Icelandic rock remains as igneous as ever.
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