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Track List
01) A Tooth for an Eye
02) Full of Fire
03) A Cherry on Top
04) Without You My Life Would Be Boring
05) Wrap Your Arms Around Me
06) Crake
07) Old Dreams Waiting to Be Realized
08) Raging Lung
09) Networking
10) Oryx
11) Stay Out Here
12) Fracking Fluid Injection
13) Ready to Lose
01) A Tooth for an Eye
02) Full of Fire
03) A Cherry on Top
04) Without You My Life Would Be Boring
05) Wrap Your Arms Around Me
06) Crake
07) Old Dreams Waiting to Be Realized
08) Raging Lung
09) Networking
10) Oryx
11) Stay Out Here
12) Fracking Fluid Injection
13) Ready to Lose
6:03
9:14
8:42
5:13
4:34
0:54
19:00
9:56
6:41
0:34
10:41
9:52
4:35
Data Complete
80%
Total Rating
80%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2013
Synthpop
Quirky
Electronic
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Album
0 copies
Album Description
Available in:
Shaking the Habitual is the upcoming fourth studio album by Swedish electronic music duo The Knife. It is scheduled for release on 8 April 2013 internationally and 9 April in the United States. The album was announced on 12 December 2012, along with a teaser video posted on YouTube. The track listing was officially revealed on 25 January 2013, followed by the artwork two days later. It will be released as a double CD and triple LP.
"Full of Fire" was released as the album's lead single on 28 January 2013. An accompanying short film was directed by Marit Östberg, who contributed a film to the 2009 Swedish feminist porn compilation Dirty Diaries. The album's second single, "A Tooth for an Eye", was released on 11 March 2013, for which a music video was directed by Roxy Farhat and Kakan Hermansson. The duo will tour in support of the album, starting in Bremen, Germany on 26 April 2013.
User Album Review
Somewhere around the eighth minute of Full of Fire – a pounding electronic monstrosity that sounds like a techno version of a panic attack and is nothing like the longest song on The Knife’s fourth album – singer Karin Dreijer Andersson’s breaks into an interpolation of Salt-N-Pepa’s 1991 pop smash Let’s Talk About Sex.
“Let’s talk about gender, baby / Let’s talk about you and me,” roars her heavily pitch-shifted voice. It is terrifying. It is funny. It is quite, quite mad, and as representative a moment as any on the wildly daunting follow-up to the Swedish sibling duo’s peerless 2006 electro-pop masterpiece Silent Shout.
In fact, to even begin to get one’s head around the extent to which the band that crafted modern standard Heartbeats has now hurled aside all pop sensibility, it’s probably instructive to listen to 2010’s underrated Tomorrow, In a Year, The Knife and friends’ soundtrack to an avant-garde Danish opera about Charles Darwin.
Filled with long, hook-free movements, lyrically preoccupied with evolution, and emphatically crafted as art over entertainment, there are a great number of similarities between it and Shaking the Habitual.
The difference, though, is that where Tomorrow, In a Year was a focussed record that used a quiet, cerebral palette of sound to evoke the immensity of prehistory, Shaking the Habitual is a thunderously loud and vivid record that screams and detonates with the full force of the present, all cacophonous electronic textures and shrieking meditations on the state of humanity.
There are allusions to environmental crisis, to gender crisis, to Margaret Atwood’s blackly comic genetic engineering novel Oryx and Crake. There is a devastatingly uncomfortable 19-minute track called Old Dreams Waiting to Be Realized.
There is a relatively catchy number called Without You My Life Will Be Boring that zips along kinetically on impassioned vocals and dazzling gamelan-style percussion. There is a sense of aggression, and there is a sense of mischief.
Records do not come more provocative, abrasive or uncompromising than Shaking the Habitual. Does that make it good? It’s so unapologetically indigestible that it’s hard to say at this stage: Silent Shout is clearly superior as a pop record and Tomorrow, In a Year is much more satisfyingly fathomable as a piece of art.
Shaking the Habitual is something else, but it’s hard not to find that profoundly exhilarating.
External Album Reviews
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User Comments
Available in:
Shaking the Habitual is the upcoming fourth studio album by Swedish electronic music duo The Knife. It is scheduled for release on 8 April 2013 internationally and 9 April in the United States. The album was announced on 12 December 2012, along with a teaser video posted on YouTube. The track listing was officially revealed on 25 January 2013, followed by the artwork two days later. It will be released as a double CD and triple LP.
"Full of Fire" was released as the album's lead single on 28 January 2013. An accompanying short film was directed by Marit Östberg, who contributed a film to the 2009 Swedish feminist porn compilation Dirty Diaries. The album's second single, "A Tooth for an Eye", was released on 11 March 2013, for which a music video was directed by Roxy Farhat and Kakan Hermansson. The duo will tour in support of the album, starting in Bremen, Germany on 26 April 2013.
User Album Review
Somewhere around the eighth minute of Full of Fire – a pounding electronic monstrosity that sounds like a techno version of a panic attack and is nothing like the longest song on The Knife’s fourth album – singer Karin Dreijer Andersson’s breaks into an interpolation of Salt-N-Pepa’s 1991 pop smash Let’s Talk About Sex.
“Let’s talk about gender, baby / Let’s talk about you and me,” roars her heavily pitch-shifted voice. It is terrifying. It is funny. It is quite, quite mad, and as representative a moment as any on the wildly daunting follow-up to the Swedish sibling duo’s peerless 2006 electro-pop masterpiece Silent Shout.
In fact, to even begin to get one’s head around the extent to which the band that crafted modern standard Heartbeats has now hurled aside all pop sensibility, it’s probably instructive to listen to 2010’s underrated Tomorrow, In a Year, The Knife and friends’ soundtrack to an avant-garde Danish opera about Charles Darwin.
Filled with long, hook-free movements, lyrically preoccupied with evolution, and emphatically crafted as art over entertainment, there are a great number of similarities between it and Shaking the Habitual.
The difference, though, is that where Tomorrow, In a Year was a focussed record that used a quiet, cerebral palette of sound to evoke the immensity of prehistory, Shaking the Habitual is a thunderously loud and vivid record that screams and detonates with the full force of the present, all cacophonous electronic textures and shrieking meditations on the state of humanity.
There are allusions to environmental crisis, to gender crisis, to Margaret Atwood’s blackly comic genetic engineering novel Oryx and Crake. There is a devastatingly uncomfortable 19-minute track called Old Dreams Waiting to Be Realized.
There is a relatively catchy number called Without You My Life Will Be Boring that zips along kinetically on impassioned vocals and dazzling gamelan-style percussion. There is a sense of aggression, and there is a sense of mischief.
Records do not come more provocative, abrasive or uncompromising than Shaking the Habitual. Does that make it good? It’s so unapologetically indigestible that it’s hard to say at this stage: Silent Shout is clearly superior as a pop record and Tomorrow, In a Year is much more satisfyingly fathomable as a piece of art.
Shaking the Habitual is something else, but it’s hard not to find that profoundly exhilarating.
External Album Reviews
None...
User Comments
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