Bjork Rare Gems and Future Classics DJ Lynnée Denise (Amsterdam, Johannesburg, London, Saturn)

This mix is for Black women who love Björk Guðmundsdóttir. For some of us Björk is one of the guiding forces in the most secret parts of our emotional lives. And there is something to be said about the fact that my deepest, most intimate romantic relationships have been with Black women who speak Björk. She is one of the most brilliant artists of our time, with relevance far beyond the boringly sensational Academy Award swan dress debacle, which on the low, I believe was a challenge to American popular cultural values. Like on some fashion resistance shit. “I thought I could organize freedom, how Scandinavian of me?”

During my New York years, I had the opportunity to witness Björk live at the Apollo with three other Black women. Björk at The Apollo? What a combination and what an honorable way to honor the Black folks that get down with her like that. Aside from the sheer weight of the decision to perform in Harlem, we, like thousands of her students, made sure to have loot in hand ready to buy tickets the moment they went on sale. We managed to get tickets, but please understand, in less than five minutes the show was sold out. And to be honest, it wasn’t Harlem or Brooklyn who showed up to see her, which I understand; Björk is ‘strange fiction.’ It was the usual crew at the Apollo concert; former club kids, angsty white women and entitled hipsters. And of course some of us were in the house. My crew and I represented for all the Black women inspired by her audaciousness, by her work ethic, and by her willingness to make whatever screw face necessary to offer ‘love scholarship’ through song. We cheered from the balcony squinting to experience what looked like an Icelandic ball of glitter performing unapologetically to self-composed electro folk music. I will never forget her relationship with the microphone, dancing around it, stepping away from it, looking into it and making it sing her songs. She’s a beast of a live performer.

After the concert I kept thinking about how to build on the energy felt from the experience. So I reached out to Greg Tate, one of the only Black men in my life who loves Bjork as much as I do, to discuss the possibility of the Black Rock Coalition’s involvement in a tribute to Björk, at the Apollo Theater no less. The vision was to have my favorite artists, including Tamar Kali, Joi and Taylor McFerrin, to not so much perform, but interpret her music. I believe that only an original interpretation is possible. A night of Björk covers would never do. Later I decided to hold off on the tribute in fear of not having the resources to do the event justice. One cannot half step when the name Björk is attached to a project and slowly but surely my budget fronted on my vision.

While a major tribute event was not possible, I kept thinking of ways to express the impact this creature of an artist has had on my artistic and personal development. I’ve turned to Björk’s music so many times for heart education and the inevitable ‘feeling of feelings’ that happen when you find yourself brave enough to face the dark beauty of a song like ‘Unravel’ from the Homogenic album. For years I’ve waited for whatever it is I am supposed to do with this special place that I hold for her work in my heart. It turned out to be this mix, which was partially inspired by the release of her latest and ninth studio album, Vulnicura. My Black girl Bjork tribe was surprised, maybe even betrayed to learn that I don’t love it. It’s brilliant by default, but part of why I love her so much is because she speaks to lovers wherever they are on their journey, excavating lessons buried deep in the nuanced exchanges between intimate partners in any given space and time. A breakup album felt too obvious for me.

Before listening to Vulnicura I had to ask myself if I even had the emotional capacity to hold Björk’s heartbreak this winter? Björk’s triple Scorpio heartbreak? Triple Scorpi