At this point it seems safe to say that 2015 is Björk's year. We may have only just passed into March, but such is the impact she's had on cultural discourse. Vulnicura is a triumph, a career-best record from an artist who has produced some of the best albums of recent years. Whilst this month New York's Museum of Modern Art (MoMA) will open the doors on a brand new retrospective exploring Björk's work and her impact on modern culture. Arriving in conjunction with this is a new book - Björk : Archives.

Ordinarily, when a book is released in conjunction with an exhibition, the content of both is more or less the same. Images are primarily of artefacts displayed behind glass cabinets and the book's text acts as a blend of history and detailed description of the items. The V&A Museum's monograph for David Bowie Is fell foul of this trap and, despite being a beautifully presented piece of print design, offers little new or revelatory insight into the artist.

Overall Björk: Archives avoids this. Presented as 5 individual volumes - four slim, brightly coloured staple-bound booklets and one thicker perfect-bound volume - each one takes a different approach to exploring and understanding Björk's creative pursuits. Rather than expecting one writer to take on this task, each volume is written by (or in one case features contributions from) a variety of writers from wildly different backgrounds. MoMA's chief curator Klaus Biesenbach, New Yorker music critic Alex Ross, professor of musicology Nicola Dibben, academic Timothy Morton and poet Sjón each take a volume and offer up a range of insights and opinions on the artist - sometimes even contradicting one another.

The book doesn't seek to explain the entirety of Björk's life and her creative exploits, rather it aims to understand where her music comes from, the ideas that spring from it and how it is connected into wider culture. This is rather refreshing as an approach as it avoids destroying the mystique that Björk has constructed around herself. Instead we are treated to genuinely interesting discussions on Björk's music and her collaborations. Alex Ross, in his piece Beyond Delta: The Many Streams of Björk considers Björk's music within the context of composition, comparing her work to classical and contemporary composers. Meanwhile This Huge Sunlit Abyss From The Future Right There Next To You, is comprised of emails sent between Björk and Timothy Morton.

This volume is perhaps the most fascinating piece here (though both Dibben and Ross' essays are incredibly interesting as well) due to the fact that it explores ideas that have been at the root of many of Björk's more recent albums. Morton, an academic who has written on philosophy and a leading promoter of object-oriented ontology (OOO), makes for a unique correspondent and along with Björk takes their discussion into thought-provoking and mind-boggling territory. OOO is a philosophy that believes that non-human elements are as rich and alive as we are and, furthermore, influence each other in what is referred to as a "sensual, molten ether".

The package, which is contained in a hard, black slipcase has been designed by studio, and long time collaborators M/M Paris is a truly extraordinary object. The slipcase and the individual volumes are covered with musical notation of various Björk songs. The main case takes the organ composition for 'Black Lake', whilst Beyond Delta takes the harpsichord arrangement for 'Pagan Poetry'. The booklet covers even open up further, thanks to a gatefold style design revealing the full musical notation for the associated instrument, or in the case of Klaus Biesenbach's introduction, a detailed timeline of Björk's life and career to date.

M/M Paris play with text alignment during volume 4's email exchanges and use some more interesting text treatments for Sjón's poem, but otherwise the layout of the books' interiors are rather straightforward. Rather than flashy type design, M/M Paris allow the essayist's words to take prominence, with even the footnotes rendered in a light colour that's easy to miss as you skim through the pages. Imagery is present throughout, with many pages alternating between text and photography. Sjón's poem, Triumphs Of A Heart, is complemented perfectly with fashion and editorial photography of Björk through the ages and is arguably the visual highlight of the book.

The only real flaw in the book is Biesenbach's introduction, which feels too much like a sales pitch for the exhibition itself. Whilst the other volumes work to offer an understanding of Björk the artist (though some take a more abstract approach), Biesenbach opens by directly addressing Björk's artistic standing - as though in need of convincing the reader - before running through a dry list of dates, locations and collaborators. It doesn't help that a comment he makes about the way "masks" are constructed for each album and performance cycle is quickly discredited in the following volume by Alex Ross.

It's only a minor concern though as it's unlikely that Beisenbach's introduction will turn people away from a collection that is as fascinating and rewarding as the artist it takes as its subject. Discussions on metaphysics, femininity in music and compositional creation should fire up the interest of both the die-hard Björk fan and anyone who wants to dive into the world of one of modern music's leading figures. You might not find all the answers you're looking for, but you'll be glad you took the journey.

Björk: Archives, with contributions from Klaus Biesenbach, Alex Ross, Nicola Dibben, Timothy Morton and Sjón, published by Thames & Hudson on 2nd March at £40.