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Tomorrow, In A Yea


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Music

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Biography

SOME FEELING IN THE BELLIES OF THE TANKERS WHO PASS US MAKING SAD MANIC BONGS LIKE DRUMS

Everybody is always desiring already imagined things.
When we travel between thresholds, people say: “you’re hiding.”
Not everything can be so easily explained.

We have a bellyache, a big stink, a major grouse or two with manufactured knowledge.
But how do you build ... Read more in Amazon's The Knife Store

Visit Amazon's The Knife Store
for 15 albums, 7 photos, discussions, and more.

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Product details

  • Audio CD (21 Oct 2011)
  • Number of Discs: 2
  • Label: Brille
  • ASIN: B0036BDPZ2
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Bestsellers Rank: 194,471 in Music (See Top 100 in Music)

1. Intro
2. Epochs
3. Geology
4. Upheaved
5. Minerals
6. Ebb Tide Explorer
7. Variation Of Birds
8. Letter To Henslow
9. Schoal Swarm Orchestra
10. Annie's Box
11. Tumult
12. Colouring Of Pigeons
13. Seeds
14. Tomorrow In A Year
15. The Height Of Summer
16. Annie's Box (Alternate Vocal)

Product Description

BBC Review

Okay, on paper it does sound a bit complicated, esoteric and, frankly, a bit bonkers: an opera, commissioned by a Danish performance art group, based on the theories of Charles Darwin, made by Swedish siblings Olof and Karin Dreijer, alias The Knife, who are better known for digital art pop and for donning spooky plague masks than for their insights into genetic mutation. Oh, and it also features three guest vocalists, including an operatic mezzo-soprano and some obscure electronic mates from mysterious Mitteleuropa and, er, Bolton.

Sure enough, complicated, esoteric and, yes, really quite bonkers, it turns out to be. By the same token, Tomorrow, In a Year is also a work of vaulting ambition whose ‘seriousness’ is written on its metaphorical sleeve and whose sense of gravity and ascetic rigour give Scott Walker’s Tilt or The Drift a run for their artily uncompromising money.

Based on field recordings (some captured by Olof during an expedition to the Amazon rainforest), the genetic tree diagrams of arch Darwinian Richard Dawkins, birdsong patterns, and lines form Darwin’s personal letters, it’s a two-disc marathon that gives up its riches only slowly, evolving (what else?) as it goes. It begins in austere fashion, the self-explanatory Intro proffering the infinitesimal dripping of the primordial soup, while the succeeding Epochs presents abstracted, monolithic synth drones and Geology, Upheaved, Minerals and Ebb Tide Explorer all do their titles justice. Variations of Birds follows, and just when you think you’ve got the measure of its clanging metallic dissonance the soprano voice of Kristina Wahlin swoops vertiginously in from stage left, its incongruity both captivating and disconcerting as she glides over eddying loops of atonal feedback.

The second disc offers more operatic beauty set against jarring soundscapes, although the Stygian mood abates for the exotic percussion, bowed strings and rhythmically interlocked vocal patterns of Colouring of Pigeons. Several marginally more orthodox, non-operatic songs follow, with Karin finally taking the mic. Almost jaunty closer The Height of Summer actually sounds like a lost Depeche Mode song. Whether that counts as evidence of evolution is, like much of this curious album, a matter for debate.  --David Sheppard

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Customer Reviews

3.9 out of 5 stars
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Most Helpful Customer Reviews

9 of 9 people found the following review helpful By Andromeda Descendent TOP 1000 REVIEWER on 8 Feb 2010
Format: Audio CD
I only literally got into the music of The Knife and Fever Ray within the last month, so this new arrival is timely for me and also a bit overwhelming. Anyone familiar with Royksopp will already know how unusual and wrenchingly mesmerising Karin Dreijer Andersson's vocals are, and as part of The Knife and her solo project Fever Ray, she has sung on some great experimental/dance tracks. This album is different, in that most of the tracks are largely instrumental concept tracks, and when there are vocals they are mostly sung in operatic style by, I believe, Kristina Wahlin Momme and Lærke Bo Winther. Karin Dreijer Andersson does appear at times, but you shouldn't go into this album expecting it to be anything like The Knife's usual work.

To be honest, this experimental opera works far better if cut back to just five tracks - Annie's Box, Tomorrow In A Year, Colouring of Pigeons, The Height of Summer, and Annie's Box (Alternative Vocal Version). It is based on Charles Darwin's On The Origin of Species - great idea, but it requires some serious concentration to listen to the lyrics and make it work. In fact, this is one of the most challenging pieces of music you'll hear, and by that I mean you need to actively listen and concentrate hard - you can't listen passively or just let it wash over you. It's a strange, often disorientating experience, but that gives it massive value both as a piece of art and as a workout for the brain.

You can listen to the entire album at present on The Knife's homepage, which is what I did before I downloaded it. Having done that though, I only wrote the five tracks I mentioned above to CD, so some forethought is recommended with this album, even for Knife fans.
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7 of 7 people found the following review helpful By Odelay In Space on 25 Feb 2010
Format: Audio CD
A very difficult album to write about. I didn't find this as challenging to listen to as it has been made out to be, although the atonal glitches and blippety-bleeps of earlier tracks can be off-putting. The most important thing to bear in mind is that this is a concept album about evolution. In that context it is a definite success, and the music is forward-thinking and avant-garde in its conception.

'Colouring of Pigeons' is the absolute stand-out; It is a genuinely moving piece of music, with a deeply wounded cello drone ebbing and falling around echoing drum-beats and operatic vocals, and the part where the male vocal comes in (sung by Olof Dreijer?) is profoundly haunting.

I'm slightly bewildered by the exaggerated reaction to this album as being the most challenging piece of music released in some time, when really it is a very considered and beautiful work of art. Pretentious? By nature of course, but it carries itself with conviction and honesty, and as always with any release involving The Knife there is no ego or self-promotion involved, just gloriously original noise created because of a belief in the power of music to open our eyes to the truth that there is more to the world than just ourselves.
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1 of 1 people found the following review helpful By E. Presland on 26 Aug 2010
Format: Audio CD
In reply to Mrs R Noakes: I'm not sure indie kids with funny haircuts will be listening to this one, it's not really that kind of record. If you give it time and allow yourself to just take it in, this album is awesome. It is difficult listening though - not for the fainthearted or looking for the knife's previous floor-fillers. I have the utmost respect for any who takes a chance on making something not everyone will like.
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Format: Audio CD Verified Purchase
I saw the live show of this at the Barbican in London several years ago; it was a thrilling experience. I wondered if the audio-only recording would live up to that memory as the visual, the dance and the live vibe would be absent. However I think it is beautiful; the singing and synth work is amazing and doesn't require the other elements. I'm not sure if that's because I associate it with the memory of the live show or whether if stands by itself. Not one to play whilst doing the housework, hoovering etc; find a quiet space and play it loud.
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By Robert J. Bloem on 11 Feb 2012
Format: Audio CD
**** & 1/2

The Knife have yet to make just less than a good album. Deep Cuts was the most access able , and was still not for the faint heated. In a Year Tomorrow has the same snow covered landscapes as Silent Shout in many years from yesterday. More like the album Biosphere and The Higher Intelligence Agency have made together..
I am a huge fan of all their music, including Fever Ray. A fan of early 90's The Orb,Orbital,Underworld,Biosphere and most recently Digitalism,ect...
I would have any Knife album than no album. buy the Mp3 version if not sure.
And check out last years Steven Wilson's GRACE FOR DROWNING...
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By danny-boy on 20 April 2011
Format: Audio CD
the sheer contrast of science and emotion is stunning
the way the music slowly develops and sounds like lave flow and artificial bird call
it beautiful
and full of the stunning opera vocal that i love

ive been a knife fan for a long time and i am soo pleased with this offering

a wonderful buy
but only if you really have the time to listen to it and scan the lyrics

fantastic
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By ADAM on 15 April 2011
Format: Audio CD
I can understand people being completely befuddled and alienated by it, but i'm not. I think there are enough sections like in Variation of Birds and the Pigeons one, and Height of Summer, to keep you gripped from the first listen. They're the reason i listened again, and of course upon listening again i discovered so many other beautiful parts to it that i'd overlooked or been alienated by the first time.

It's not like any other of The Knife's albums, it's utterly unique and lovely, and an opera! i love opera, i love darwin, i love the knife.. so what's not to like?..

Of course it being a studio version of an opera make me want to see the opera, i wonder exactly what has changed, what, if anything, has been left out, much like i do when i listen to Tom Waits alice and blood money, albums whose music was also originally made to be staged.
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