{"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 Independent","author_name":"","width":"480","height":"315","url":"http:\/\/www.bjork.fr\/The-Independent-2004","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/www.bjork.fr\/The-Independent-2004'\u003EThe Independent\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003E“Instruments are so over,” claims Bj\u00f6rk, half-humorously, when discussing Med\u00falla, for which she has stripped away most of the instrumentation to leave her greatest asset—her voice—supported by only the occasional skeleton of programmed beats, an occasional synth drone, and a warm patina of other voices, including those of Robert Wyatt, the former Faith No More singer Mike Patton, the Inuit throat-singer Tanya Tagaq Gillis, and the Icelandic Choir that has accompanied her on live (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}