Tomorrow, In A Yea
|Price:||£13.99 & FREE Delivery in the UK on orders over £20. Details|
Fulfilment by Amazon (FBA) is a service Amazon offers sellers that lets them store their products in Amazon's warehouses, and Amazon directly does the picking, packing, shipping and customer service on these items. Something Amazon hopes you'll especially enjoy: FBA items are eligible for and for Amazon Prime just as if they were Amazon items.
If you're a seller, you can increase your sales significantly by using Fulfilment by Amazon. We invite you to learn more about this programme .
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Frequently Bought Together
Customers Who Bought This Item Also Bought
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
Find more music at the BBC This link will take you off Amazon in a new window--This text refers to an alternate Audio CD edition.
Top Customer Reviews
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.
'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.
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...
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.
Most Recent Customer Reviews
the sheer contrast of science and emotion is stunning
the way the music slowly develops and sounds like lave flow and artificial bird call
and full of... Read more
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... Read morePublished on 15 April 2011 by ADAM
This album doesn't take many times to appreciate it (like another review states here). Highly crafted, and original juxtapositions,( for want of a better word)) of bleak... Read morePublished on 1 Mar. 2011 by M. J. Farnworth
Fever Ray was one of the great electro-goth albums of the year. This is quite a departure for The Knife, an interesting if impenetrably abstract album that has moments of very... Read morePublished on 28 Dec. 2010 by KenniPod
ok, i'd like to start by addressing the poor reviews with one or two stars.
yes, there's lots of experimental sub bass sounds and a soprano singing over the top. Read more
...unless they are fully aware of what they are buying...
I loved The Knife's album "Silent Shout" and was hoping for something similar. How disappointed I got!! Read more