{"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":"San Francisco Chronicle","author_name":"sofftchevaliers","width":"480","height":"315","url":"http:\/\/www.bjork.fr\/San-Francisco-Chronicle-Utopia-review","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/www.bjork.fr\/San-Francisco-Chronicle-Utopia-review'\u003ESan Francisco Chronicle\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EBj\u00f6rk is on the rebound. After the darkness that swirled around her previous studio album, “Vulnicura,” released in 2015 after a traumatic breakup with artist Matthew Barney, the Icelandic singer-songwriter rediscovers the light on “Utopia.” The album is marked with the celestial sounds of flutes and birdcalls, as well as the glitchy electronic effects that have defined her work for the past three decades. “Sending each other MP3s\/ falling in love to a song,” she confides over the soft, (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}