The Cover Uncovered: ‘Post’ by Björk and the excitement of newness
It would be unfair to describe Björk as anything less than a genius. From the very beginning of her career, she has pushed boundaries and presented herself as completely unique and original. Despite drawing from a variety of genres, Björk has always sounded like herself and no one else. Aided by a distinctive singing voice, the musician experiments with unusual ideas which have made her stand out as a true innovator, such as an album made almost entirely from human noises, Medúlla.
However, Björk is best known for her ‘90s output – Debut, Post and Homogenic – all of which drastically shaped the pop landscape. Incorporating genres ranging from techno and ambient to industrial rock and jazz, these albums reinvented what experimental popular music could sound like. Subsequently, Björk’s influence has extended across generations, inspiring everyone from Radiohead’s Thom Yorke to Charli XCX and Grimes.
It is hard to crown one of Björk’s albums as the best, but the answer most fans give usually floats between Post, Homogenic or Vespertine. The former, released in 1995, was seminal, marking a distinctive progression from the already incredible Debut. With Post, Björk proved she was a true pop maverick, disregarding all rules.
From the pounding industrialism of ‘Army of Me’ to the beautiful trip-hop-inspired ‘Possibly Maybe’, which induces the feeling of submerging yourself in a vast pool of water, Post is evocative and rich with texture. Alongside hit songs from Björk’s career, like ‘It’s Oh So Quiet’ and ‘Hyperballad’, the album is also recognisable for its cover. The singer appears on the front cover of all her records, and Post is easily one of her most iconic.
Defined by pinks and oranges, which match the energy found in many of the songs on the album, the cover places Björk in the centre, wearing an outfit featuring red and blue details evoking airmail envelopes, referencing the record’s title. The colours and patterns blur behind the musician – which includes the face of a baby – as though she is standing in front of a bustling city covered in billboards. Her hair is slightly windswept, and it appears that Björk could be facing a busy street lined with traffic and people, observing a life full of exciting opportunities and newness.
This reflects the themes of the record, which was made as Björk explored new cultures and musical genres, taking influence from various parts of England, Scotland, the Bahamas and her native Iceland. The musician was enjoying the freedom of experiencing nightlife in new countries, channelling these encounters with unfamiliar sounds into her music. Subsequently, the cover represents this excitement, while the significance of postcard/mail imagery speaks to the musician’s desire to keep her friends and family near, even if she couldn’t be physically close.
There is a contrast between the desire for newness and a longing for familiarity reflected on the cover, something that can be identified in Björk’s music, which effortlessly blends many old influences into an innovative, fresh sound.
Paul White, who designed the cover, explained (via Mental Floss), “The motivation behind it was her desire to be surrounded by her possessions from home. She felt very isolated from everything in Iceland while recording the album. She was away from friends and family and communicating with them via messages. Post was about her state of mind – remote communication and a sense of awe and surprise at the changes in her life after the success of her first album.”
Post remains one of Björk’s greatest achievements, irreversibly changing the course of pop music for the better. Its captivating album artwork, photographed by Stephane Sednaoui, has intrigued countless music fans over the years, introducing them to an unequivocal masterpiece.
