The Knife on Coming Back (At Least for a Concert Film) Aug 14, 2017. spin.com. 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. That's because "Heartbeats" is so out of step with the rest of Deep Cuts. Even in the wake of such pollutants as international success, ubiquitous acclaim, and frequent imitation, the Knife have found a way to keep their name meaning something remarkably unique and pure. Then there's “Raging Lung”, a dank, serpentine 10-minute groove that lifts its refrain ("what a difference a little difference would make") from Fugazi's classic 1990 debut Repeater. The duo also recorded it in their flats in Gothenburg and Stockholm, and in a rehearsal studio in the Hökarängen district of Stockholm. The Knife / Without You My Life Would Be Boring / Pitchfork Music Festival Paris 2013 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." And in the end, though, Shaking's unruly structure-- a perfect union of form and content-- feels like a noble choice. The album's recordings started early in the summer of 1999 in a cottage on the Swedish island of Tjörn. Six of its thirteen songs exceed eight minutes. Francis Cabal, Jayme Ancla, Bijan Gorospe, Erwin Hilao, Ivan Brosas, Paolo Arciga 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 A knife that contains a spring, detent, or other mechanism designed to create a bias toward closure of the blade and that requires physical exertion applied to the blade by hand, wrist, or arm to overcome the bias toward closure to assist in opening the knife is not a spring blade knife. In a 2006 interview with Pitchfork Media, the Knife cited David Lynch, Aki Kaurismäki, Korean cinema, Trailer Park Boys, Donnie Darko and Doom as inspirations for their work. Somewhere in the past seven years, the Knife reached that Lynchian status where everything they do is their own, adjectivally specific kind of creepy. (At times it sounds like Animal Collective's “The Bees”, but makes that haunting track sound like a lullaby in comparison.) 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. “Electronic is just one place in the body.”. 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.". Get free access to the complete judgment in SEATTLE v. MONTANA on CaseMine. 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?). 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. www.pitchforkmusicfestival.fr Twitter & Instagram: @pitchforkparis / #P4Kparis 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. After all, what was their breakthrough hit "Heartbeats" if not a heavy-breathing declaration of vulnerability? 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. LP. 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. The book focuses on specific genres including indie rock, hip-hop, electronic, pop, metal, and experimental underground. 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?). 18 talking about this. 20 talking about this. 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. David "Glowing like the metal on the edge of a knife" Meat Loaf. Perhaps even more so in their absence, the Knife have come to seem like a vibe, an ethic, a dark, not-entirely-scientifically-understood phenomena; other bands are to the Knife what matter is to anti-matter. The Knife Articles and Media. 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 … 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"). ... Well Jerry, to be perfectly honest, I don't live on a farm ir even own a pitchfork. 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”. "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. 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