Silent Shout [CD]

The Knife, Sweden's wonderful brother and sister electro group, return with this, their third proper studio album. Despite recent exposure courtesy of a Jose Gonzalez cover version of their song 'Heartbeats' (as well as strangley being championed by Victoria Newton of The Sun), the Knife are still relative unknowns outside of their homeland. For those of you who do know the Knife, however, what a treat is in store for you! Altogether darker than 'Deep Cuts' and their eponymous debut, the multi-layered compositions and voice distortions take on an entirely new level on this album. Although the overall feel is sombre both musically and lyrically ("They said we had a communist in the family, I had to wear a mask" from 'Forest Families'), the Knife still delve into flashes of upbeat electronica, 'We Share Our Mother's Health' sees the Knife return to 'Kino' style territory, an almost-unlistenable mess of beeps that somehow manages to stick together to make a cohesive mess that's challenging and enjoyable. 'Like A Pen' wouldn't be out of place on a dingy indie dancefloor and 'Neverland', features one of the catchiest tunes you'd ever wish to hear. Karin's voice is twisted that way, distorted this way and put through all kinds of treatment, giving every Knife track it's own unique feel (can we say that about the Libertines/Babyshambes/Dirty Pretty Things?) Standout track 'Marble House' reaches the emotional intensity set by 'Heartbeats' from 'Deep Cuts', although a minor niggle is the male vocals on this track - personally he creeps me out a bit, but that's just me. I recently read a review of this album that dismissed it because the reviewer claimed to be a 'guitarophile' and that electro isn't very good. Well. If you can take a chance on something and perhaps be a little more aware that music doesn't have to be confined to one instrument, the Knife would be a good place to start. While indie will always be in my little heart, this album is, as Stingray from Neighbours would say, 'spiggin' awesome', and will always have it's fair share of rotations.

Anyone basing their knowledge of The knife on the fact that recent hit for Jose Gonzalez "Heartbeats" was actually a cover of one of their songs will be gob smacked by "Silent Shout". Excuse me while I get an ice pack for my jaw. I knew they used electronics but nothing had prepared me for the alien textures, insidious alien ambience and ghostly menace of much of "Silent Shout". Not that , that presents a problem for me but if " Heartbeats " led you to expect some diffusely warm pastoral idyll you'll be distinctly un-nerved by the jagged slopes of icy granite and frigid tundra "Silent Shout" leads you to.
Formed by Swedish siblings Olof Dreijer and Karen Dreijer Andersson The Knife have previously released three albums , each an exponential improvement over the last , leading to this , easily the most focused and coherent of their output so far. Melding esoteric contemporary electronic instrumentation with often bizarre vocal styling , particularly those of Andersson ( Whose voice approximates Bjork doing a Kate Bush impression while inhaling helium ) The Knife produce music that presents a challenging listen but nearly always an enjoyable one. That is not easy to achieve. Needless to say they go to far sometimes and occasionally generate something that is not so much challenging as damm near impossible to get the head around. The pitter patter rhythmic nuances of "Like A Pen" drag on to deleterious effect while "From Off To On" is far too nebulous and prosaic.
Happily the majority of the arrangements on "Silent Shout" are melodically bracing while seasoned with that tangible air of the strange yet glamorous. The albums eponymous opening track has spangled keyboards and precision percussion over the hushed vocals. "Neverland" is a potential dance/club crossover with radiant synth swathes and springy rhythmic pulses. "Captain the" has Anderssons voice multi tracked and treated. It's like a hymn from some trans -dimensional frost covered entity. The refracted notes of "We Share Our Mothers Health" boing around like diffuse balls of brittle glitter. The interplay between the vocals is superbly arranged giving the song a compelling dichotomous character. "Na Na Na" centres on a wonderfully effortless keyboard refrain and Anderssons compelling siren voice. "Marble House" is a torch song refracted through a faulty hall of mirrors while "Forest Families" coats a more restrained Andersson vocal in a blanket of bubbling atmosphere and low key dissonance. "One Hit" is tremendous, a track I can only describe as The Butthole Surfers covering Can via The Smurfs. Childish and chilling at the same time. "Still Light" percolates woozy ambience over a deathbed tale of twilight poetry.
Juxtaposing the likes Of "Kid A " Radiohead, dashes of Sigur Ros ,and just about any progenitor of electronic music you care to mention "Silent Shout" is a superb album that falls just shy of being an out and out classic. Despite the preponderance of gloomy techno edges and its other worldly tone "Silent Shout" is a hugely stimulating listen. Shout it from the roof tops, The Knife are on the cutting edge.

This album isn't as uplifting as Deep Cuts and you will have to listen to it a few times to really get into it. But I am comparing it to the previous album which would take a lot to top. It is still better than a lot of other stuff out there. There are tunes on this album which are fantastic such as, Silent Shout, We Share Our Mothers Health and Like A Pen. It's also the technicallity of this album which will make you apreciate it that much more.