If Björk had her way, her international debut wouldn't have included her.
"I keep having to remind myself why I do interviews," she told Richard Kingsmill with mild exasperation in 1993.
"I guess I'm doing them because of my music, for more people to find out about it, and to sell more records, so I could get that money to do another album which is just basically my biggest fantasy at the moment.
"But the tricky thing for me is to figure out what I say. In a way, it has nothing to do with the music. I used to start off interviews by saying 'this is a warning', like the warnings on the cigarette packets. And just say, 'warning, this interview won't get you any closer to the music'.
"My favourite thing of all would be if, financially, I would be able to make music, and then all I do is I would sneak up behind people in the street with headphones, and just put them on his ear. And they won't know anything about where it comes from, the person who made it, what sex, age, race or whatever it is. And they will just have to feel it, you know, either hate it or like it but without any labels.
“I think if you listen to the music, you will kind of get what it's about. And it doesn't have to be explained”.
Having experienced child stardom in Iceland, and the machinations of a band with her tenure in The Sugarcubes, Björk was far enough along the road as an artist to understand that true innovation requires a level of hubris and a singular commitment to one's vision.
"I've done so much music in the past that's been about tuning into other people's wishes and pleasing other people," she told triple j in 1993.
"This is the first album that's got my music on it.
"So when I was making this album, I was very much focused just on being very selfish, and just doing exactly what I wanted. While I was doing it, I felt very antisocial, and it turned out to be the most social thing I've ever done which is very surprising," she said of the wide praise Debut received.
"I've never gotten so much attention in my life. I did this album to do something private, and just do an album the way I think the album should be, and being really tired of all those other albums around."
By 'other albums' she was referring to the abundance of male-led guitar bands in the 1990s, something she sought to rectify in the quest she undertook to assemble her own live band as she was preparing to tour Debut.
"I seem to have done a bit of a world record because I went around London and auditioned many hundreds of people for my band," she continued.
"I put together an eight-piece band and only one person is English, which I think is quite good. It's two people from India, one from Turkey, one from Cyprus, one from Iran, one from Barbados, one from Wales, and one from England.
"It's very exciting, because we all have different backgrounds, which I really appreciate. English rock'n'roll or whatever you call it, and American and I guess you've got that in Australia as well, they just think they're so great, but they don't realise that they're just completely boring.
"There's more to pop music than The Beatles and Rolling Stones and guitars, bass and drums. Indian pop culture is enormous and there are so many great musicians there, and the Iran jazz scene is incredible. It's very fascinating.
"People from England and America and I guess Australia as well have to learn that they can't take it for granted that the whole world is playing rock'n'roll. It's just not that simple. I think it's, in a way, very racist and not fair.
"I'm talking about just opening your mind and realising that there's a lot of things going on out there that people don't know about. I'm not going to go into the sexist issues because I'll be really upset then, but I mean, just white male rock'n'roll is getting a bit too much really.
"I wouldn't mind them making room for other people."
Across Debut's 11 tracks, Björk decisively claims space for her wide ranging imagination, sonic exploration and fusion of her eclectic tastes.
Dance jams like 'Big Time Sensuality', 'Violently Happy' and the transitions between indoor/outdoor and public/private spaces on 'There's More to Life Than This' are ebullient tributes to the club culture she'd immersed herself in during the early 90s when she was based in the UK.
Spare brass arrangements provide perfect respite on 'The Anchor Song' and there are beautiful nods to South Asian influences via Talvin Singh's contributions on 'Come To Me', 'One Day' and 'Venus as a Boy'.
'Crying' employs a euro dance piano line and 'Like Someone in Love' features lovely harp and leisurely outdoor atmospherics that hint at a nostalgia for musicals.
And we also got a taste of Björk's observational mindset, flipping perspectives to better understand the quirks of the human condition on the album's lead track.
"When I was a kid, David Attenborough used to be my hero. My family is very big, and we had a lot of very hardcore emotional things going on. I mean, very happy, but just very extreme emotions, and a lot of strange behaviour going on," she told triple j.
"And me, as a kid trying to watch it and make sense out of it all, it didn't really work well. So I used to have this dream when I was laying in bed at night, that I could actually get David Attenborough to come to Iceland.
"I would take him to the top of a hill, so he could get a good view of my hometown, and then he would explain to me, in the same way he explained the behaviour of the animals – they're born here, and then they meet, and then they look for food, and then they die kind of thing.
"This all sounds really happy and very simple, that he could actually take my hand, take me to his hill, and describe my family to me in that way and I would get the picture.
"So 'Human Behaviour', it's a little bit about human beings from an animal point of view — the way they run around, they're happy and they're sad, they drive cars and they smashed cars, and then they eat and they go to toilets, all these behaviour patterns, you know."
Artists often need to negotiate a delicate balance between their internal and external spaces, what they share publicly or keep for themselves. Björk had no such misgivings.
"Getting all this attention [for Debut] and everything, people have got certain expectation towards me now," she said.
"I don't want to feel obliged to having to serve people or be a certain person just to make them happy. I would much rather just turn around and unplug my telephone and write another album."
In her podcast series Sonic Symbolism, Björk reflects on the many experiences and phases of life that have influenced her work over the years.
She described her time making her first record with the words 'shy, beginner, humility, virgin'.
Despite these tentative descriptions, its clearly evident that the path she's taken to creating her remarkable catalogue of works and becoming one of contemporary music's foremost innovators can all be traced back to the big time individuality of her Debut.
Delve into the finest records of our time on Double J's Classic Albums. Listen to it here on the ABC listen app.