{"version":"1.0","type":"rich","provider_name":"Bj\u00f6rk.fr \u2013 Site francophone d\u00e9di\u00e9 \u00e0 Bj\u00f6rk : musique, clips et actualit\u00e9s","provider_url":"https:\/\/www.bjork.fr","title":"The Observer","author_name":"aifol","width":"480","height":"315","url":"http:\/\/bjork.fr\/The-Observer","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/bjork.fr\/The-Observer'\u003EThe Observer\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003Enote : 4\/5 \n\u003Cbr class='autobr' \/\u003E\nNo one boasts as many ideas as the avant-garde darling. But why are they so hard to whistle, asks Craig McLean \n\u003Cbr class='autobr' \/\u003E\n The last time she was here, with 2004\u2019s Medulla, Bjork treated listeners to a smorgasbord of avant-garde vocal ideas and no instruments. It was a clever bit of techno-ethnography, but little else. « A trip to the shops with my iPod - gosh, what I really want to hear is some Inuit throat music. » This sixth album finds her, at least notionally, offering something for (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}