{"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 Guardian","author_name":"benjicok","width":"480","height":"315","url":"https:\/\/bjork.fr\/guardian-bjork-review-utopia-2017","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/bjork.fr\/guardian-bjork-review-utopia-2017'\u003EThe Guardian\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EThe musician\u2019s self-professed \u2018Tinder album\u2019 spins from ecstasy to frustration by focusing more on soundscapes than melody \n\u003Cbr class='autobr' \/\u003E\nAt this stage in her career, no one expects Bj\u00f6rk\u2019s latest record to sound much like her last one. And yet it\u2019s hard to avoid heaving a thankful sigh when Arisen My Senses, the opening track of her ninth studio album, Utopia, crashes into life : birdsong giving way to bright splashes of electronics, beatific-sounding harp chords and cascading beats not unlike the (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}