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"I wanted to make it an honest record. Me, here, myself, at home. I asked myself if there is such a thing as Icelandic techno, and how it could sound. Well, in Iceland, everything revolves around nature, 24 hours a day. Earthquakes, snowstorms, rain, ice, volcanic eruptions, geysers… Very elementary and uncontrollable. But at the other hand, Iceland is incredibly modern; everything is hi-tech. The number of people owning a computer is as high as nowhere else in the world. That contradiction is also on Homogenic. The electronic beats are the rhythm, the heartbeat. The violins create the old-fashioned atmosphere, the colouring. Homogenic is Iceland, my native country, my home."

Homogenic is the third studio album by Icelandic singer-songwriter and musician Björk, released on 23 September 1997 by One Little Indian and Elektra Records. It was written in collaboration with producer Mark Bell of LFO. It has sold over 2.3 million copies worldwide.

Björk continually describes Homogenic as an extension of her personal feelings. In interviews, she called the album her "most me yet" and "emotionally confrontational." Claiming that there are no surprises on Homogenic, Björk wanted to make a minimalist album with few tools: a string orchestra, vocals, and synthetic beats. She has revealed that the album's name stems from the fact that all of the tracks are relatively similar and did not realise that "homogenic" is not actually an English word, referencing English as her second language.

Homogenic was extremely well received by critics and the general public. Allmusic's Heather Phares gave the record a five-out-of-five star rating, citing it as more emotionally deep than any of Björk's previous work and a "seamless fusion of chilly strings, stuttering, abstract beats, and unique touches like an accordion and glass harmonica." Writing a review of the album for Pitchfork Media, Ryan Schrieber graded Homogenic as an 9.9-out-of-10, claiming that Björk has started to re-define what music actually is rather than its sound. Rolling Stone praised the juxtaposition and contradiction of live strings and synthesised beats, eventually naming it one of the boldest albums of 1997.

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