Yago: How did making "Dancer in the Dark" shape your next album, Vespertine? What's changed since Homogenic?

Björk: Homogenic, for me, was very emotionally confrontational and was very dramatic, both in the melodic sense of the strings and the distorted beats. Everything on 11 ... a lot of steroids in the air. Vespertine is sort of the opposite. Very introverted, very quiet and calm and peaceful, and at peace with one's self.[RealVideo]

After being obsessed with reality and darkness and always thinking everything else is bullsh--, you know, suddenly thinking to invent a paradise isn't necessarily a bad thing. I used to always think that was escapism. This record is very much about inventing your own paradise, but underneath your kitchen table, so it's very secretive. It's sort of about being on your own in your house with your laptop and whispering for a year and just writing a very peaceful song that tiptoes. It's all about reaching those euphoric highs and those ecstasy moments, but with no outside stimulates. All it takes is inside you. I'm quite aware it's an artificial paradise, so it almost went Disney at times — you know, when you see pink Bambi jumping about? Those types of things. I don't think there are very many pink Bambis on Homogenic.

[Vespertine is] sort of a winter album for me. I think Homogenic was very summer, very hot, burning desert. Maybe 'cause I did it in Spain; it might be something as simple as that. But this one's like ... those days when it's snowing outside, and you're inside with a cup of cocoa and everything's very magical. You're euphoric, but you don't speak for days 'cause you don't want to. [RealVideo]

Yago: You don't want to disturb the environment.