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Artist:The Knife
Title:Silent Shout
Label: Rabid Rec
Release: 20th of march
Tracklist:
1.Silent Shout
2.Neverland
3.The Captain
4.We Share Our Mothers' Health
5.Na Na Na
6.Marble House
7.Like A Pen
8.From Off To On
9.Forest Families
10.One Hit
11.Still Light
bonus:
12: silent shout video
samples:
http://www.juno.co.uk/ppps/products/211496-02.htm&highlight=the knife
“Magnificent new album” – Word
“Brilliant new album” – Music Week
“Deliciously twisted pop” – NME
“Pulsing electronica” – The Times
“Pop at it’s finest” – The Sun
“An astounding listen” – Mixmag
“Fabulous new album” – Evening Standard
This is the world of The Knife: precise, particular, dark, occult, funny-peculiar, funny-ha-ha. This Swedish brother-and-sister duo work mostly on their own in splendid isolation; they release music on their own label, licensing it to selected partners around the world, so they have to answer to no one. Within the steely electronic pop of their multi Grammy award winning last album Deep Cuts (which spawned the huge single Heartbeats, recently covered by Jose Gonzalez) lurked songs about women’s rights, love, hate and the duty of good citizens to pay their taxes. The Knife don’t do anything by half, and they don’t do anything twice. Compromise is the enemy, repetition a cop-out.
The Knife began making Silent Shout, their third album in March 2004. Recordings commenced in an old carbon-dioxide factory, then moved to the vaults beneath The Grand Church in Stockholm’s Old Town. Olof and Karin planned to build a permanent studio underneath the church. But 15th century medieval brickwork and future-sounding art-synth-pop proved incompatible. ‘We had to move because of the poor sonics of the room,’ says Olof. ‘But mainly because it was so old the walls were falling apart so we had brick dust in our lungs.’ Retreating to the health and safety of their respective home studios, then a Stockholm studio complex, The Knife finished the album just as the huge exposure for Heartbeats was introducing the craft and magic of their songwriting to a worldwide audience.
Silent Shout is an astounding achievement, intriguing and bewildering, enigmatic and engaging, and never less than compelling. One Hit is a gothic sea shanty, Still Light an electro/a capella hymn. Neverland is a thumping dancefloor anthem with a punchy lyric (‘I’m dancing for dollars for a fancy man’). The twinkling starscapes of Na Na Na could be the work of a sci-fi Sigur Ros. The ghostly fairy tale atmospheres of From Off To On are utterly hypnotic, while the kinetic menace of Forest Families is frankly frightening. ‘They say we had a communist in the family, I had to wear a mask,’ sings Karin, to hair-raising effect.
Throughout, her voice is manipulated and transformed every which way, a cacophony of vocal styles evoking the myriad characters peopling these songs: solitary sailors, a hermaphrodite, a sickly person or two, male-bonding groups in crisis, TV addicts, a scared housewife and, The Knife say, ‘a biologically weighty citizen that desperately tries to get to know his body’. Karin says it’s the ‘scared housewife’ who is singing Na Na Na but she’s unwilling – unable even – to provide too much more detail. In contrast to the overt political content of Deep Cuts, for Silent Shout she wanted to do something ‘more under the surface. It may take a little bit more time to see what we say. But I don’t know how to separate art and politics. You make art about what’s in your head. It’s difficult not to think about what’s happening around you. ‘I guess many songs are about looking for something to spend time, and to fill the body, to avoid loneliness and the physical functions or dysfunctions of the body. It's one step forward and one step back.’ ‘And the Silent Shout title, it’s like when you dream and really want to scream something, nothing comes out. Or we are screaming but not telling you what we are screaming.’ She’s more forthright on the subject of forthcoming single Marble House (the second full single from the album which will be released on April 24th). One of the best songs on the album, it begins with the synthesised sound of castanets before evolving into techno-ballad in waltz time. ‘We wanted to do something between The Sabres Of Paradise’s Wilmot and the movie The Umbrellas of Cherbourg. And the lyrics may be performed by somebody who devotes herself to anything, just to have something to fill up her time.’
We Share Our Mother’s Health, as well has having the best title ever, is a burbling electro groove, like Chicks On Speed managed by Malcolm McLaren. Karin views it as a ‘sick’ song, but also a counterweight to the more ‘serious’ Marble House. ‘It’s a very hysterical and mainly a panicked kind of song,’ says Olof, who admits he often has no idea what his sister’s lyrics are about. ‘I can only relate to the harmonics. But the sounds are… like a new rubber material.’ Silent Shout is more focused than Deep Cuts, and not just because it features 11 tracks where its predecessor had 17. The songs are rich with detail, thoughts and ideas and innovations piled hard on top of each other. Its jaw-dropping fusion of technology and emotion, circuitry and the soul, melodrama and melody, will leave you gasping
Silent Shout 12"
(UK version)
Tracklist:
A. Williams Acidic Circuits Remix
AA1.Troy Pierce Barado en Locombia mix
AA2. Original Version
Release UK: Feb, 20
Silent Shout Video
http://media2.7digital.com/motion/The_Knife_Silent_Shout_High.mov
MARBLE HOUSE
Single and video are out now in Sweden and Europe. The CDS contains a beautiful orchestral remix by Planningtorock. A 12" with remixes is on its way, with remixes by Rex The Dog and Booka Shade!
WE SHARE OUR MOTHERS' HEALTH
Remix by Trentemöller and more, video animated by Motomichi Nakamura, The Knife's forthcoming single will be hitting the charts in Sweden and UK soon!
Pressfotos:
http://www.luger.se/uploads/imgArchive/knife048.jpg
http://www.luger.se/uploads/imgArchive/knife141.jpg
http://www.luger.se/uploads/imgArchive/knife206.jpg
SILENT SHOUT TOUR
- An Audio Visual Experience
Visuals by Andreas Nilsson
UPCOMING SHOWS
6TH JUNE - FRANCE, PARIS, LA LOCO
14TH JULY - SWEDEN, ARVIKAFESTIVALEN
11TH AUGUST - GERMANY, SONNEMONDSTERNE
INFO ON THE SHOW
The music of The Knife will be performed from a stage for the first time ever. These performances will be accompanied by the images of Andreas Nilsson, which will take the form of various projections along with different kinds of constructions.
Andreas Nilsson gives his description:
"In the first performances by The Knife the role played by the visuals is rather big. Their purpose is to somehow represent the dramatic enacting a performance ideally should encompass, but which The Knife would rather not engage in.
Our aim is to find and enhance the tone of the music, especially where it's presently at with the apocalyptic record Silent Shout.
Karin and Olof will be placed in an altering video-landscape between solid and transparent images. These images will content-wise bring forth the mood that is the ordinary and the simple, but at the same time with an underlying subliminal feeling of that which we run from. A pretty harsh vision.
One interesting aspect of their music is the way in which The Knife work with different characters of singing. These will be visualized by reinforcing The Knife with two individuals of unknown origin. Bred under hypnosis."
----------------------------------------------
PERFORMED SHOWS:
30TH MARCH - STOCKHOLM, BERNS - SOLD OUT
31ST MARCH - LUND, MEJERIET - SOLD OUT
6TH APRIL - BERLIN, MARIA AM OSTBANHOF
10TH APRIL - LONDON, SCALA - SOLD OUT
12TH APRIL - GOTHENBURG, TRÄDGÅR'N - SOLD OUT
Bio:
The Knife is Olof Dreijer and Karin Dreijer Andersson. They are based in Stockholm, Sweden and have made music together since 1999, released on their own label Rabid Records.
http://www.theknife.net
Title:Silent Shout
Label: Rabid Rec
Release: 20th of march
Tracklist:
1.Silent Shout
2.Neverland
3.The Captain
4.We Share Our Mothers' Health
5.Na Na Na
6.Marble House
7.Like A Pen
8.From Off To On
9.Forest Families
10.One Hit
11.Still Light
bonus:
12: silent shout video
samples:
http://www.juno.co.uk/ppps/products/211496-02.htm&highlight=the knife
“Magnificent new album” – Word
“Brilliant new album” – Music Week
“Deliciously twisted pop” – NME
“Pulsing electronica” – The Times
“Pop at it’s finest” – The Sun
“An astounding listen” – Mixmag
“Fabulous new album” – Evening Standard
This is the world of The Knife: precise, particular, dark, occult, funny-peculiar, funny-ha-ha. This Swedish brother-and-sister duo work mostly on their own in splendid isolation; they release music on their own label, licensing it to selected partners around the world, so they have to answer to no one. Within the steely electronic pop of their multi Grammy award winning last album Deep Cuts (which spawned the huge single Heartbeats, recently covered by Jose Gonzalez) lurked songs about women’s rights, love, hate and the duty of good citizens to pay their taxes. The Knife don’t do anything by half, and they don’t do anything twice. Compromise is the enemy, repetition a cop-out.
The Knife began making Silent Shout, their third album in March 2004. Recordings commenced in an old carbon-dioxide factory, then moved to the vaults beneath The Grand Church in Stockholm’s Old Town. Olof and Karin planned to build a permanent studio underneath the church. But 15th century medieval brickwork and future-sounding art-synth-pop proved incompatible. ‘We had to move because of the poor sonics of the room,’ says Olof. ‘But mainly because it was so old the walls were falling apart so we had brick dust in our lungs.’ Retreating to the health and safety of their respective home studios, then a Stockholm studio complex, The Knife finished the album just as the huge exposure for Heartbeats was introducing the craft and magic of their songwriting to a worldwide audience.
Silent Shout is an astounding achievement, intriguing and bewildering, enigmatic and engaging, and never less than compelling. One Hit is a gothic sea shanty, Still Light an electro/a capella hymn. Neverland is a thumping dancefloor anthem with a punchy lyric (‘I’m dancing for dollars for a fancy man’). The twinkling starscapes of Na Na Na could be the work of a sci-fi Sigur Ros. The ghostly fairy tale atmospheres of From Off To On are utterly hypnotic, while the kinetic menace of Forest Families is frankly frightening. ‘They say we had a communist in the family, I had to wear a mask,’ sings Karin, to hair-raising effect.
Throughout, her voice is manipulated and transformed every which way, a cacophony of vocal styles evoking the myriad characters peopling these songs: solitary sailors, a hermaphrodite, a sickly person or two, male-bonding groups in crisis, TV addicts, a scared housewife and, The Knife say, ‘a biologically weighty citizen that desperately tries to get to know his body’. Karin says it’s the ‘scared housewife’ who is singing Na Na Na but she’s unwilling – unable even – to provide too much more detail. In contrast to the overt political content of Deep Cuts, for Silent Shout she wanted to do something ‘more under the surface. It may take a little bit more time to see what we say. But I don’t know how to separate art and politics. You make art about what’s in your head. It’s difficult not to think about what’s happening around you. ‘I guess many songs are about looking for something to spend time, and to fill the body, to avoid loneliness and the physical functions or dysfunctions of the body. It's one step forward and one step back.’ ‘And the Silent Shout title, it’s like when you dream and really want to scream something, nothing comes out. Or we are screaming but not telling you what we are screaming.’ She’s more forthright on the subject of forthcoming single Marble House (the second full single from the album which will be released on April 24th). One of the best songs on the album, it begins with the synthesised sound of castanets before evolving into techno-ballad in waltz time. ‘We wanted to do something between The Sabres Of Paradise’s Wilmot and the movie The Umbrellas of Cherbourg. And the lyrics may be performed by somebody who devotes herself to anything, just to have something to fill up her time.’
We Share Our Mother’s Health, as well has having the best title ever, is a burbling electro groove, like Chicks On Speed managed by Malcolm McLaren. Karin views it as a ‘sick’ song, but also a counterweight to the more ‘serious’ Marble House. ‘It’s a very hysterical and mainly a panicked kind of song,’ says Olof, who admits he often has no idea what his sister’s lyrics are about. ‘I can only relate to the harmonics. But the sounds are… like a new rubber material.’ Silent Shout is more focused than Deep Cuts, and not just because it features 11 tracks where its predecessor had 17. The songs are rich with detail, thoughts and ideas and innovations piled hard on top of each other. Its jaw-dropping fusion of technology and emotion, circuitry and the soul, melodrama and melody, will leave you gasping
Silent Shout 12"
(UK version)
Tracklist:
A. Williams Acidic Circuits Remix
AA1.Troy Pierce Barado en Locombia mix
AA2. Original Version
Release UK: Feb, 20
Silent Shout Video
http://media2.7digital.com/motion/The_Knife_Silent_Shout_High.mov
MARBLE HOUSE
Single and video are out now in Sweden and Europe. The CDS contains a beautiful orchestral remix by Planningtorock. A 12" with remixes is on its way, with remixes by Rex The Dog and Booka Shade!
WE SHARE OUR MOTHERS' HEALTH
Remix by Trentemöller and more, video animated by Motomichi Nakamura, The Knife's forthcoming single will be hitting the charts in Sweden and UK soon!
Pressfotos:
http://www.luger.se/uploads/imgArchive/knife048.jpg
http://www.luger.se/uploads/imgArchive/knife141.jpg
http://www.luger.se/uploads/imgArchive/knife206.jpg
SILENT SHOUT TOUR
- An Audio Visual Experience
Visuals by Andreas Nilsson
UPCOMING SHOWS
6TH JUNE - FRANCE, PARIS, LA LOCO
14TH JULY - SWEDEN, ARVIKAFESTIVALEN
11TH AUGUST - GERMANY, SONNEMONDSTERNE
INFO ON THE SHOW
The music of The Knife will be performed from a stage for the first time ever. These performances will be accompanied by the images of Andreas Nilsson, which will take the form of various projections along with different kinds of constructions.
Andreas Nilsson gives his description:
"In the first performances by The Knife the role played by the visuals is rather big. Their purpose is to somehow represent the dramatic enacting a performance ideally should encompass, but which The Knife would rather not engage in.
Our aim is to find and enhance the tone of the music, especially where it's presently at with the apocalyptic record Silent Shout.
Karin and Olof will be placed in an altering video-landscape between solid and transparent images. These images will content-wise bring forth the mood that is the ordinary and the simple, but at the same time with an underlying subliminal feeling of that which we run from. A pretty harsh vision.
One interesting aspect of their music is the way in which The Knife work with different characters of singing. These will be visualized by reinforcing The Knife with two individuals of unknown origin. Bred under hypnosis."
----------------------------------------------
PERFORMED SHOWS:
30TH MARCH - STOCKHOLM, BERNS - SOLD OUT
31ST MARCH - LUND, MEJERIET - SOLD OUT
6TH APRIL - BERLIN, MARIA AM OSTBANHOF
10TH APRIL - LONDON, SCALA - SOLD OUT
12TH APRIL - GOTHENBURG, TRÄDGÅR'N - SOLD OUT
Bio:
The Knife is Olof Dreijer and Karin Dreijer Andersson. They are based in Stockholm, Sweden and have made music together since 1999, released on their own label Rabid Records.
http://www.theknife.net
