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Tomorrow, In A Yea

4.0 out of 5 stars 14 customer reviews

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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: 4.0 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Bestsellers Rank: 121,394 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  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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--This text refers to an alternate Audio CD edition.

Customer Reviews

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Top Customer Reviews

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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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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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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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
**** & 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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Format: Audio CD
I find it hard to describe this album because it can't really be compared to the most music out there, it is one of a kind. When I first heard this album I recommended it to a friend and he asked 'What's it like?', at the time I said; 'Like the Knife and Godspeed! You Black Emperor had a threesome with an opera.'

I still stand by that but this album is so much more, at times it reminds me of Portishead, at others of Sunn O))) and at times it makes me think of tribal drumming - it is as varied as it is beautiful.

If you want to try a couple of tracks first I recommend 'Variation of Birds' and 'Colouring of Pigeons' as they are probably the most accessible tracks and stand on their own well outside the context of the album. It is worth remembering that this album is an opera and is supposed to be listened to start to finish, some of the tracks won't sound as good standing alone without the rest of the album to support them but this is by no means a bad thing.

I'm really struggling to give this album an adequate description or recommendation because it is so different, I got it because I am a fan of the Knife but this is not like their previous works. I would say that if you like the knife you will probably like this, just because you probably have an open mind already - honestly I would say if you are into any of the bands I mentioned it is worth a listen, and it's probably worth buying even if you only listen to it once just to say you gave it a go.
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