Björk's second studio album, "Post" (1995), represents a more daring and at times aggressive project compared to the previous "Debut", in which Björk had already implemented a first fusion of musical genres and influences. This amalgamation of styles also finds fertile ground in "Post", which, produced in collaboration with Nellee Hooper, Graham Massey and Tricky of Massive Attack, represents a successful balance between pop and experimentation, between real and electronic instruments. Techno, trip-hop, house, ambient and industrial are just some of the genres the singer ventures into in this second project, fully in line with the multicultural climate of mid-1990s London. Among the singles, we find some of the most famous songs in the artist's discography, including "Army of Me", "It's Oh So Quiet" and "Hyperballad". In the first, which presents itself as an industrial rock track with trip-hop influences, Björk addresses her younger brother with an imperious voice to urge him not to complain and to act to improve his condition. The aggressive tone of "Army of Me" soon gives way to "Hyperballad", which in a curious union of strings and electronics sees the narrating voice exorcise its turmoil and negative thoughts by throwing objects from the top of a cliff, only to then return to her beloved and feel safe by his side. After the bizarre "The Modern Things", a sudden change of mood sets in with "It's Oh So Quiet", a cover of a jazz song made famous by Betty Hutton. It is followed by the dark techno of "Enjoy", the mysterious "You've Been Flirting Again" and the second single "Isobel", an orchestral trip-hop track. As in the previous album, different emotional states alternate, from the ambient of "Possibly Maybe" to the alternative dance of "I Miss You", until reaching one of the most delicate tracks with "Cover Me". In addition to receiving unanimous critical acclaim, the album reached number one on the charts in Iceland and number two in the UK, and was included by Rolling Stone among the best albums of all time.
Today we suggest listening to "Hyperballad", one of the most emotionally charged tracks in Björk's discography, which in a different interpretation pushes us to reflect on the parts of ourselves that we sometimes renounce for love.Inspired by a kiss near the Wall between producer Tony Visconti and singer Antonia Maaß, in the title track Bowie imagines two lovers dreaming of living their story freely, of being "heroes" even just for a day. The main single of the album, the song is a romantic and triumphant anthem, where Robert Fripp's epic guitar motif blends with the synth parts masterfully arranged by Brian Eno. The title is a deliberate reference to the track "Hero" on the album "Neu! '75" by the German band Neu!, which along with Kraftwerk and Tangerine Dream deeply influences Bowie's rock.
The album can be considered divided into two parts: the first part encompasses more conventional rock tracks, such as "Heroes" and "Beauty and the Beast," while the second part features more instrumental and experimental tracks, like the eerie "Sense of Doubt" and the delicate "Moss Garden," concluding with the Middle-Eastern vibes of "The Secret Life of Arabia."
In 1977, the album reached the third position in the UK and, although it only made it to the thirty-fifth position in the United States, it was a considerable success in Europe, primarily thanks to the title track, for which versions in French and German were released.
We can therefore conclude this last appointment on Bowie with the wonderful "Heroes," where the voice of the Thin White Duke emerges at its peak of expressiveness and emotional intensity.
