This is The Pitchfork Review, the show about the musicians we're obsessed with and the albums you need to know right now.

I'm Pugia Patel, the editor-in-chief of Pitchfork.

And I'm Jeremy Larson, the reviews editor.

Jeremy, what's going on?

Ah, man, I am feeling some regret that we're about to talk about Bjork's new album,

and I have never in my life forage for mushrooms. Have you? I have. I'll teach you the ways.

Really? That's exciting. And the reason we're talking about mushrooms today is because

Bjork's latest album, which is her

10th studio album, Pesora, is all about mushrooms, love, death, and family. So Bjork is an

otherworldly figure in music, basically a mythical being to a certain kind of music fan,

ourselves included.

She is considered the mother of experimental pop music and has influenced huge stars across

every genre, from artists like Siza to David Byrne to Radiohead.

Bjork started making music when she was just 11 years old, and in the 80s, she was the lead singer of the acclaimed

alternative rock band, The Sugar Cubes.

In the 90s, she went solo, and with her early albums, like Post and Homogenic, she reinvented what pop music could sound like.

Her songs were sonically rich, borrowed influences from underground electronic music, punk, and jazz.

She captured delicate feelings about love, womanhood, and the human condition

with songs like Army of Me and Hyperbalad.

In the 2000s, around the 2000s, around the release of Medulla,

her work became much more conceptual.

Medulla literally used a human voice

...