{"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":"musicOMH","author_name":"","width":"480","height":"315","url":"http:\/\/www.bjork.fr\/MusicOMH-2004","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/www.bjork.fr\/MusicOMH-2004'\u003EmusicOMH\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EIt\u2019s been well documented that Bj\u00f6rk\u2019s fifth solo album—and first since 2001\u2019s Vespertine—is her “vocals only” album. And given Bj\u00f6rk\u2019s penchant for samplers and the avant garde, it would seem that Med\u00falla is all about experimenting with that most quintessential attribute : her voice. \n\u003Cbr class='autobr' \/\u003E\nAnd experiment she does. Opening track Pleasure Is All Mine sets the decidedly eerie tone for the rest of the album by using familiar (or unfamiliar) vocal sounds, regurgitated via a sampler as beats. Strange (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}