{"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":"experimental working","author_name":"","width":"480","height":"315","url":"http:\/\/bjork.fr\/experimental-working","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/bjork.fr\/experimental-working'\u003Eexperimental working\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EDo you use musicians as bait for computers, like experimental mice ?   \n\u003Cbr class='autobr' \/\u003E\nMe including. I know what I want to do, and I only have a limited space for people I work with. For example, on Vespertine, boys from Matmos arrived only at the very end of the recording session, because I needed them to interfere with the beats, the percussions. I passed 3 years alone on rhythms before, so they understood what I was expecting from them. \n\u003Cbr class='autobr' \/\u003E\nFor Med\u00falla, Mark Bell arrived when the songs were finished : He (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}