@Conrado Corrales

Whether it’s a weekday morning or Saturday night, get going with this personalized set of upbeat music. Refreshed every Monday.

Songs to help you relax and unwind. Updated every Sunday.

Discover new music from artists we think you'll like. Refreshed every Friday.

The tracks you can’t get enough of lately, all in one place. Updated as you listen.

The songs you can’t do without. The more you use Apple Music, the more essential they become. Refreshed every Tuesday.

Björk Guðmundsdóttir has always cut her own striking figure, beginning with her 1993 solo debut after fronting Icelandic act The Sugarcubes. She sang passionately over simmering jungle breaks on “Human Behaviour” and vamped airily against Europop backing on “Big Time Sensuality,” often only hinting at her voice’s wild mix of jagged crags and steep peaks. The hyper-focused multihyphenate grew more and more self-possessed in a short period of time, broadening her range to comfortably include the ominous dance outlier “Army of Me” and the chirpy jazz lark “It’s Oh So Quiet,” both from 1995. By the start of the new millennium, Björk had proven herself adept at occupying forward-thinking techno (“Hunter”) and small-scale IDM (“Hidden Place”), in addition to starring in the film <i>Dancer in the Dark</i> and duetting with Thom Yorke on the soundtrack (“I’ve Seen It All”). She has only plunged further ahead since then, constructing elaborate ecosystems out of human voices (as heard on 2004’s “Oceania”), far-flung cultural and genre earmarks (2007’s “Wanderlust”), and multimedia experiences (2011’s “Moon” and 2015’s “Stonemilker”) while working closely with fellow electronic producers like Arca (2018’s “Arisen My Senses”) yet still maintaining a deep interest in orchestral arrangements (2022’s “Fossora”). Decades after listeners had finally gotten their heads around the unbound perimeters of her voice, Björk continues to rival that with the sheer ambition of her songwriting and production.