Track Listing

1. Silent Shout
2. Neverland
3. The Captain
4. We Share Our Mother's Health
5. Na Na Na
6. Marble House
7. Like a Pen
8. From Off to On
9. Forest Families
10. One Hit
11. Still Light

Product Details

• Amazon Sales Rank: #73687 in Music
• Released on: 2006-07-25
• Number of discs: 1

Album Description
Already championed by buzz-talkers and tastemakers, Mute announces the release of Silent Shout, The Knife's third album and first domestic release. The world of The Knife is precise, particular, dark, occult, peculiar. The mysterious duo work mostly on their own in splendid isolation. Silent Shout features The Knife's lurking, textured vocals steeped in a tangled, dark surrealist underbrush. It's is an astounding achievement, intriguing & bewildering, enigmatic and engaging, and never less than compelling. Its jaw-dropping fusion of technology and emotion, circuitry and the soul, melodrama and melody, will leave you gasping.

Customer Reviews

Elegant Electronica
The Knife slips its blade in slowly in this, their third and eeriest ablum to date. Their sound has never been so insidious and effective.

Most of the songs loom large and unapologetic on a static-heavy foundation of pure electronica. The Knife experiments with some serious, in-your-face sound changes, most of them involving bizarre vocal arrangements (that sound melted, tweaked, and tweezered) and massive chunks of computerized noise.

When they're not infiltrating the nerves with schizophrenic, hyper-active machinery ("We Share Our Mother's Health" and "Like A Pen"), they're lulling listeners into dim groves of lyrical whispers ("Forest Families" and "One Hit"). This is the kind of album that's so avant-garde, so experimental, so hard to define and yet so insistently familiar that the urge to compare it to other records of its kind is almost unresistible.

But, in all honesty, there really is no other record to compare it to. The techno-militant urgency of "Neverland," the winding orchestral phantasms of "Marble House," the star-lit brilliance of the title track -- they may play like the distant cousins of Bjork, Massive Attack, Aphex Twin, or the Sneaker Pimps, but they are still indelibly unique. Fans of electronic music will be more than pleased, and everyone else may just find a few reasons to give the genre a more serious look.

Very pleasing to ones ears
I first heard this album on vinyl the other week when I was looking for some new mixing material. I didn't buy it then, because I new this was one of those electro albums I would love listening to and not mixing. Not to say there aren't good tracks for mixing. More then half the album would be great for mixing. This album just has something else that most dancefloor friendly electro albums don't.
There are great melodies and atmospheres created throughout the album. Then theres the vocals. I must say the female vocalist of "The Knife" has one of the most interesting and seductive voices I've heard in any genre of music. Her voice demands your attention. Electro songs without vocals lack a certain connection with the listener. And a lot of vocals in elecro songs
are just monotone and sleazy. Some are good. But some can just sound lame and annoying. Her voice is the best I've heard in dance music. I'm not going to go into what each song sounds like and what they're about, cause I don't think my writing could do them justice. If you want to hear the album go there website, "the Knife". You can hear influences of Kraftwerk
and others in there music, but there sound is quite unique and really draws you in. No complaints. I love it.

A Silent Killer
Best known for their beautifully tender Heartbeats (touchingly covered by Jose Gonzalez and used during Sony's Bravia television campaign featuring thousands of super balls filmed bouncing down a Chicago street), Swedish brother and sister duo The Knife have followed up on the vibrant electro styles of 2005's Deep Cuts with an album far more sinister and shadowy. Keeping with their surreal style, Karin and Olof Dreijer began recording Silent Shout in an abandoned carbon dioxide factory before relocating to the underground catacombs of an ancient Stockholm church. Karin's squeaky yet heartbreaking vocals have been thoroughly manipulated on Silent Shout, with the Scandinavian pop overtones of Deep Cuts being replaced by a much darker vibe. The glacial synthesizers of The Captain are as sharp as the band's name suggest, while the frenetic We Share Our Mother's Health - complete with Teutonic vocals announcing `We come down from the north' - sounds like an electro take on Led Zeppelin's Immigrant Song. Although the filtered effects and overwhelming darkness of many of the songs make it frequently opaque, Silent Shout's highlight Marble House lightens the mood a little. Featuring Swedish musician Jay Jay Johanson as a guest singer, this future single finds his tender vocals offsetting Karin's creepy sounds. The exciting Madonna-versus-Royksopp style of Marble House, the delicate From Off To On and the skittery beats of the opening title track mean that although Silent Shout has less commercial zest, its enlightened and progressive nature has the power to both confound and delight.