{"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":"Prefix Magazine","author_name":"","width":"480","height":"315","url":"http:\/\/www.bjork.fr\/Prefix-Magazine,1162","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/www.bjork.fr\/Prefix-Magazine,1162'\u003EPrefix Magazine\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EThe cold but emotionally bare soundscapes of Bj\u00f6rk\u2019s sixth album, Vespertine, were revealed to the public only a few weeks before the September 11, 2001 terrorist attacks, but the music could be a real-time unraveling of an artist\u2019s consciousness. Often described as precious, the work was fragile and jagged, as if it had already been smashed into a million pieces and calmly put back together, its cracks still evident in the care with which it was handled. The emotional impact of such a work (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}