Detecting Counterfeit Knives. “A Tooth for an Eye” almost feels like a belated, revisionist do-over of the band’s relatively unremarkable early work. 17 talking about this. Besides being densely layered and exquisitely written, a grandiose, saw-heavy track like "Heartbeats" is a wistful, quixotic dancefloor closer. We’re so used to experiencing the Knife at a cool, veiled distance that the most shocking things about their return were the ones that seemed uncharacteristically personable: their faces (on full display in the anarchic video for “Full of Fire”), their fingernails, their smiles (were they actually smiling in that photo?). 83. critic score (15) 84. user score (481) 2003. Moving fluidly between potent bursts of electro-aggression (“A Tooth for an Eye”), seductively uncoiling, meditative grooves (“Raging Lung”) and ambient stretches, Shaking the Habitual-- like Swans’ recent and similarly mammoth The Seer-- doesn’t demand the same kind of attention the whole time. Deep Cuts. www.pitchforkmusicfestival.fr Twitter & Instagram: @pitchforkparis / #P4Kparis Perhaps that's either because they toss the genre's grainy trashcan beats in favor of gentler, funked-up MIDI rhythms, or because when they sing about fucking someone's brains out they make sure back it up with mundane scene-setters like, "I'll order a chai tea and you will have the usual au lait". Boundary-busting in content and in form, the 2xCD Shaking the Habitual challenges plenty of perceived notions-- about extreme wealth, the patriarchy, the monarchy, environmental degradation, decreasing attention spans (“It's nice to play with people's time these days,” Andersson says in explanation of the record's marathon length), and not the least of which the Knife's own identity as a band. ... pitchfork.com. Silent Shout. by: Pitchfork In the second episode of a two-part documentary, producers Madlib and Kaytranada learn more about the installation of the custom in-dash record player in the Lexus IS Wax. The Knife Articles and Media. This has something to do with the fact that Andersson and Dreijer have gone to great lengths to come off like they are something other than human. Ditching the springy Europop of 2004's Deep Cuts, Sweden's the Knife here pits dark, ghostly electro backdrops against elastic vocals, which they mash through a wringer of digital manipulation. 3 talking about this. Bands seldom make albums full of songs like these, but you almost wish the Knife did. ... Well Jerry, to be perfectly honest, I don't live on a farm ir even own a pitchfork. "Band” implies people banging on things widely agreed upon as instruments and making things that most people would recognize as "music"-- this feels like an inadequately pedestrian way to describe what Karin Dreijer Andersson and Olof Dreijer are. She's clearly having fun inhabiting the role of the fat-with-power monarch here, but her roleplaying is also an act of resistance (the band has recently cited as an influence the gender theorist Judith Butler, who pioneered the notion of thinking about gender as performance), of cutting the omnipotent down to size and suggesting that the institution's expiration date has passed. It is the Knife's most political, ambitious, accomplished album, but in a strange way it also feels like its most personal: It provides a glimpse into the desires, intellectual enthusiasms and (unsurprisingly dense) reading list guiding one of music's most shadowy duos. Pitchfork is the most trusted voice in music. Who are the people we trust as our leaders and why? The Knife would clearly like to use their music to incite the listener to rethink concepts taken for granted and challenge authority, but would a more effective method of shaking the habitual be, say, smuggling a subversive message into the greatest (and at press time, only) four-minute dancefloor anthem ever written about fracking? What do we have to learn from those we consider inferior?”) read like museum placards. More from Pitchfork The Knife Announce First-Ever Vinyl Release of Tomorrow, in a Year black midi Announce New Album Cavalcade, Share Video for New Song: Watch Sims and Planningtorock will be pressed on two 180-gram LPs Top. In plenty of ways, Shaking seems to have “inaccessible” etched into every fiber of its DNA. The winding, unbridled song structures and industrial-tinged, organic sounds are such a departure from the rest of their output that they’ve said they initially considered releasing it under a different name. The Knife's first album in seven years is the Swedish duo's most political, ambitious, accomplished album, but in a strange way it also feels like its most personal, a musical manifesto advocating for a better, fairer, weirder world. The Knife on Coming Back (At Least for a Concert Film) Aug 14, 2017. spin.com. black midi Announce New Album Cavalcade, Share Video for New Song: Watch. More from Pitchfork The Knife Announce First-Ever Vinyl Release of Tomorrow, in a Year. And though you might expect a track of such intensity to spoil quickly, "Heartbeats" has a durable shelf life. “We went temporarily acoustic,” they declared in the madcap manifesto that served as Shaking's press bio. The Knife / Without You My Life Would Be Boring / Pitchfork Music Festival Paris 2013 20 talking about this. The voices are deadpan and phlegmy and the synths unabashedly celluloid, but the Knife are far different than most of their electro-pop contemporaries. www.pitchforkmusicfestival.fr Twitter & Instagram: @pitchforkparis / #P4Kparis The Knife from Sweden peforming "Bird" at Pitchfork Music Festival, Paris, France, October 31, 2013. The festival, which is normally held over three days (Friday, Saturday, and Sunday) in July, focuses primarily on artists and bands from alternative rock, hip hop, electronica, and … At its most mesmerizing, its conceptual rigor and occasional inscrutability are overpowered by a disarming earnestness: It is a musical manifesto advocating for a better, fairer, weirder world. Pitchfork named it the best album of 2006 and the title track the second best song. Sims and Planningtorock will be pressed on two 180-gram LPs By Madison Bloo m The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present is a book compiling the greatest songs from 1977 to 2006, published in 2008 by Pitchfork Media. Starting in 2011, the festival announced a branch staged in Paris at Grande halle de la Villette. Co-ed sibling electro-pop duo The Knife are out to prove they're more than just the outstanding "Heartbeats" single. The song was also listed at number 74 on the website's list of The Top 500 Tracks of the 2000s, [18] while the album was placed at number 15 on its list of The Top 200 Albums of the 2000s. Shaking the Habitual is, inarguably, an achievement. Pitchfork Paris was steeped in psychedelia – from Danny Brown's crackpot Cartman raps, to Warpaint's swirling Californian rock – so eccentric New Zealander Connan Mockasin's set … Somewhere in the past seven years, the Knife reached that Lynchian status where everything they do is their own, adjectivally specific kind of creepy. "I'm in love with your brother," sings Karin Dreijer over a popping steel drum melody on "Pass This On", and it's unclear if she's being addressed or what. Following Andersson and Dreijer down such a labyrinthine rabbit hole would be difficult if they didn’t hook you from the start, but luckily the first three songs are among the most immediately arresting 25 minutes of music the Knife has ever made. It is 98 minutes long (about double the length of the already-epic-seeming Silent Shout). The polyrhythmic, polymorphously perverse industrial throb “Full of Fire” feeds off the heat kindled by the opening track and rides it for a magnificently maniacal nine minutes, while the creaking, evocative “A Cherry on Top” has got to be one most deliciously creepy Knife songs yet-- of course, that’s saying a lot. Built around the bone-curdling sound of a zither warping in and out of tune, Andersson sings of riches-- “Strawberry, melon, cherry on top…The Haga Castle evening cream”-- in a heavy, manipulated voice so overripe it basically wafts decay. www.pitchforkmusicfestival.fr Twitter & Instagram: @pitchforkparis / #P4Kparis Put it on in a room and it snakes in and out of your consciousness, but on some level it’ll still have you in its chilling, atmospheric vice grip. The most difficult part of making a record so ambitious and conceptual is, of course, bridging the gap between thinking and feeling-- a divide that even Shaking cannot always conquer. But buying "post-human" mythology wholesale has always sold the Knife a little short. Instead, they're preoccupied with cheeky and lascivious synth sounds: hollow, creeping mallet instruments ("One for You"), glowing arena glides ("You Take My Breath Away"), and spitting saw-waves that grab for echoing space ("You Make Me Like Charity"). They gave interviews and accepted awards in disguise (moving through a terrifying cycle of bird masks, Dystopian Blue Man Group masks, primate-inspired facepaint, and of course who could forget Andersson's infamous melting flesh mask?). He allegedly tried to stab her multiple times. (At times it sounds like Animal Collective's “The Bees”, but makes that haunting track sound like a lullaby in comparison.) The early press photos for their new album, Shaking the Habitual, made an activity as innocent as swinging on playground swings feel forebodingly sinister. That's because "Heartbeats" is so out of step with the rest of Deep Cuts . Eulogies is the debut album of Los Angeles-based indie rock group Eulogies, released by Dangerbird Records on September 11, 2007. But the early information that trickled out about Shaking the Habitual served as a reminder. And in the end, though, Shaking's unruly structure-- a perfect union of form and content-- feels like a noble choice. Even Silent Shout cut through the abstraction and found a pulse-- whether it was the strobe-lit dancefloor rhythms of “We Share Our Mothers’ Health” and “Neverland” or the palpitating storytelling of a song like “Forest Families”. 19 talking about this. 70. critic score (18) 69. user score (31) 2006. The discography of Swedish electronic music duo The Knife consists of five studio albums, one mini-album, one live album, one soundtrack album, two video albums, two extended plays, 19 singles, one promotional single, 18 music videos and two short films Albums Studio albums. Beneath french horn, vacillating sustained pad swells, and Olof's languid vocals, the track's coruscating music box melody suggests something slightly and eerily askew. Many of the things that might seem off-putting in theory are what make it hang together so well as a front-to-back listen-- the drone pieces are sequenced such that they act as intermissions, though the kind where the air conditioner's at an uncomfortable full blast and the house lights remain, evocatively, dark. The Knife's first album in seven years is the Swedish duo's most political, ambitious, accomplished album, but in a strange way it also feels like its … Every pop duo seems to need a gag, and The Knife's is familial: The Dreijers are siblings, and Deep Cuts is teeming with winking incestuous undercurrents. Tipping its hat to the ideologies of punk rock, gender outlaws, enviro-anarchists, and outsiders of any stripe, Shaking feels at time like a guided, international tour through the last quarter century of political resistance and radical thought-- or maybe an epic, authority-fucking mural painted in the part of town where all the squatters and crust punks have migrated. Elsewhere, "Girls' Night Out", with its whirring synth zaps and fast clicking pulse, could score the bomb detonation scene in a techie thriller if not for carpe diem salvos like, "and we ride through the moonlight, far beyond." But, nevertheless-- topics that few sibling acts would so affably address. Shaking the Habitual feels not post-human but profoundly humanist, fueled by an unfashionable but profoundly refreshing faith in music's ability to hypnotize, to agitate, and to liberate-- to become, in Winterson's words, "the high note that smashes the glass and spills the liquid.". “Electronic is just one place in the body.”. The driving force of their music is the interplay between the uncanny and the familiar, though in all the theatricality it's easy to forget the latter. On stage, they were silhouettes glowing behind a translucent screen. Pitchfork: That's obviously something that really appeals to you, folding the macabre, theatrical element into your live show. But The Knife, whose CD Silent Shout was a favorite among music bloggers and Web sites like Pitchfork, may be an exception. The album's recordings started early in the summer of 1999 in a cottage on the Swedish island of Tjörn. Get free access to the complete judgment in SEATTLE v. MONTANA on CaseMine. If the Knife want to make merely good records, they need only to make up their mind; but let's hope they strike a balance between the quaking sentimentality of "Heartbeats" and the svelte realism of their other songs and start making great ones. While 2003's Deep Cuts sometimes struggled to find common ground between punk aggression and bright, calypso-tinged synths, “Tooth” ties these competing impulses together seamlessly as it also deftly weaves in a political message. "She's Having a Baby" is as misleading as it is delightfully twisted. And the great privilege of being the Knife in 2013 is having a platform-- they've earned a devoted audience ready to approach their wildest, most challenging and passionate vision with eager ears and an open mind. The varieties usually don't intertwine, except on "Heartbeats", Deep Cuts' first single and by far its standout track. The book focuses on specific genres including indie rock, hip-hop, electronic, pop, metal, and experimental underground. It … In interviews, they've spoken about "the importance of making your privileges transparent in order to say something political." The Knife: "A Tooth for an Eye" (via SoundCloud) Smack dab in the middle of the new Knife album comes a track called "Old Dreams Waiting to Be Realized". The beat is thick and shifty, providing a solid foundation for the layers and layers of cascading melody. Lindsay Zoladz of Pitchfork hailed Shaking the Habitual as the duo's "most political, ambitious, accomplished album, but in a strange way it also feels like its most personal". A woman was sitting in her car visiting the post office when 28-year-old Daniel Kuchta came up to her car carrying a pitchfork. Bands seldom make albums full of songs like these, but you almost wish the Knife did. Francis Cabal, Jayme Ancla, Bijan Gorospe, Erwin Hilao, Ivan Brosas, Paolo Arciga As the instrument warbles in and out of tune, the castle walls-- and the confines of pop structure as we know it-- seem to be crumbling at her and Dreijer's feet. LP • The Knife in Collaboration with Mt. But I sure do like old stuff. But once you surrender to these facts and descend into Shaking the Habitual, its atmosphere is strangely, surprisingly inhabitable. Either way, Karin and Olof Dreijer have hatched an album that works where so many others fail, proving that fun needn't be spooned with irony. Knife related articles contributed by the fine members of AAPK. The Pitchfork Music Festival is an annual summer music festival organized by Pitchfork Media and held in Union Park in Chicago, Illinois. LP. The official statements released with its music videos (“'A Tooth For An Eye' deconstructs images of maleness, power and leadership. [19] After all, what was their breakthrough hit "Heartbeats" if not a heavy-breathing declaration of vulnerability? In the seven years since Silent Shout, the Knife's mythology has grown to the point where the Swedish duo seem like something other than a band. Though not as challenging as their collaborative opera score Tomorrow in a Year, Shaking still knowingly, brazenly risks turning less adventurous listeners off-- and maybe those who dismiss the record for not trying to recreate the populist magic of "Heartbeats" or "We Share Our Mother's Health" have a point. Philip Sherburne of Spin remarked that The Knife have "never sounded more in tune with the materiality of sound or the sonorousness of the physical world." Elsewhere, the lyrics are generally about parties and sex, dating and relationships. The song’s refrain comes from the experimental British writer Jeanette Winterson’s book The Passion (the interstitials "Oryx" and "Crake" also reference a Margaret Atwood novel), but Andersson brings a physicality to her delivery that muscles the line right off the page: “I’m telling you stories,” she seethes, until you can almost see the vein bulging in her neck, “Trust meeeee.”. "You Make Me Like Charity" is cheap, austere and vulgar; "Heartbeats" is warmer and brimming with existential urgency. Their 2010 collaboration with Mt. David "Glowing like the metal on the edge of a knife" Meat Loaf. 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