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| Silent Shout | 
 enlarge | Artist: The Knife
Label: Rabid
Category: Music
List Price: $14.97
Buy New: $11.97
You Save: $3.00 (20%)
Buy New/Used from $4.49
Avg. Customer Rating:  (8 reviews)
Sales Rank: 159585
Format: Enhanced, Import
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.3
Dimensions (in): 5.4 x 4.9 x 0.4
EAN: 8686096500307
ASIN: B000ELIVB0
Release Date: March 13, 2006
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Silent Shout | | • | Neverland | | • | The Captain | | • | We Share Our Mothers' Health | | • | Na Na Na | | • | Marble House | | • | Like a Pen | | • | From off to On | | • | Forest Families | | • | One Hit | | • | Still Light |
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| Editorial Reviews:
Album Description
The Knife are the sibling duo that penned the song "Heartbeats" that their good friend jose gonzalez has had a massive success with in recent times. This is their third album, darker than the previous "Deep Cuts" record still holding their unique sound and infectious grooves. Rabid. 2006
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| Customer Reviews: Read 3 more reviews...
 Cuts to the heart June 26, 2007
This Swedish electropp dup is still pretty low-profile, though the Knife seem to be following in the footsteps of Broadcast -- eerie, atmospheric, pretty pop music. Third album "Silent Shout" returns to the band's root sounds, after the harder techno of their last album, and it's a breath of electronic fresh air.
It opens with the blippy, spacey beats of the title track, which shimmers all over the place over some heavy grounding beats. A chorus of voices murmur, like a choir of robots. It's a great intro, and it's a big contrast to the song that comes after it -- the ominous, stomping techno of "Neverland."
The rest of the album is an attempt to reconcile the two previous sounds the band has had -- hard techno, and airy electropop. After "Neverland," there are a couple straightforward techno songs that sound like a spacier Autechre, including the robotic "Like A Pen" and the schizophrenic space bleeps of "We Share Our Mothers' Health."
But the majority of these songs are softer and stranger. The Knife dips into spacey experimental music, tropical ambience with eerie yowls, shimmery electropop, ominous lullabies, and one song that sounds like a distress call from a spaceship, set to a soft electronic beat. It winds up with the undulating, whispery "Still Light," which is perhaps the creepiest song of all.
In "Silent Shout," the Knife strike a good balance between techno and experimental soundscapes, which was missing from their previous two albums -- both were good, but they had entirely different music. They've learned moderation, using the harder beats in a softer melody, and also creating dreamy soundscapes that may not get people dancing, but might transport them to another planet.
The harder beats don't even sound catchy -- they sound more like a sonic attack. Other synth gets twisted into kettle drums, pretty shimmers, and eerie sonic walls. Karin's voice is heavily filtered by computers, but this isn't done because it's a bad voice. Rather, it makes the pretty, fragile vocals fit in with the otherworldly music, as she lets out a series of Bjorkian yowls and murmurs.
The Knife would do a great job with the soundtrack to a sci-fi movie, since they already have the right sound -- chilly, eerie and beautiful.
 Shouting March 17, 2007
This Swedish electropp dup is still pretty low-profile, though the Knife seem to be following in the footsteps of Broadcast -- eerie, atmospheric, pretty pop music. Third album "Silent Shout" returns to the band's root sounds, after the harder techno of their last album, and it's a breath of electronic fresh air.
It opens with the blippy, spacey beats of the title track, which shimmers all over the place over some heavy grounding beats. A chorus of voices murmur, like a choir of robots. It's a great intro, and it's a big contrast to the song that comes after it -- the ominous, stomping techno of "Neverland."
The rest of the album is an attempt to reconcile the two previous sounds the band has had -- hard techno, and airy electropop. After "Neverland," there are a couple straightforward techno songs that sound like a spacier Autechre, including the robotic "Like A Pen" and the schizophrenic space bleeps of "We Share Our Mothers' Health."
But the majority of these songs are softer and stranger. The Knife dips into spacey experimental music, tropical ambience with eerie yowls, shimmery electropop, ominous lullabies, and one song that sounds like a distress call from a spaceship, set to a soft electronic beat. It winds up with the undulating, whispery "Still Light," which is perhaps the creepiest song of all.
In "Silent Shout," the Knife strike a good balance between techno and experimental soundscapes, which was missing from their previous two albums -- both were good, but they had entirely different music. They've learned moderation, using the harder beats in a softer melody, and also creating dreamy soundscapes that may not get people dancing, but might transport them to another planet.
The harder beats don't even sound catchy -- they sound more like a sonic attack. Other synth gets twisted into kettle drums, pretty shimmers, and eerie sonic walls. Karin's voice is heavily filtered by computers, but this isn't done because it's a bad voice. Rather, it makes the pretty, fragile vocals fit in with the otherworldly music, as she lets out a series of Bjorkian yowls and murmurs.
The Knife would do a great job with the soundtrack to a sci-fi movie, since they already have the right sound -- chilly, eerie and beautiful.
"I caught a glimpse, now it haunts me" July 13, 2006
5 out of 6 found this review helpful
Were you ever curious what it would sound like if David Lynch decided to make an electropop album? Well, Silent Shout may be your answer. This is probably the oddest album since Bjork's "Medulla" (yet this is much more successful in my opinion). Even darker and weirder than their last album, "Silent Shout" is also a huge leap forward. "Deep Cuts" had all the ingredients to be an album I should love, but for some reason it never completely drew me in. I definitely LIKED it, but there were a few too many ideas and it just didn't seem to reach its full potential. "Silent Shout," on the other hand, drew me in instantly. It is very cohesive, it builds on all the band's strengths, and it sets them apart from pretty much any other band in existence. It's dark and creepy and otherwordly, yet at the same time there's a surreal warmth and beauty that radiates from the music. It's a mood unlike any other I've experienced before from any other artist. That's why this album draws you in and warrants repeated listenings. Music that is immediately catchy and accessible can be quite nice (like an old acquaintance), but it's these bands that reinvent music and bring something fresh to the table (like a new lover) that keep you coming back for more, and should really be recognized as something special.
Take Bjork's vocals, distort them many different ways, layer them on top of each other until you have what sounds like a choir of aliens or strange forest creatures, then add them to brooding pads, arpeggiated synths, and electronic drum beats, and you have an idea of what this album sounds like (the result is so much better than it may look in writing, though). The music isn't just a novelty either. It really is good from beginning to end. Some of my favorite tracks so far are "The Captain," "We Share Our Mothers' Health," "Like a Pen," and "Forest Families." My least favorite is "Neverland." It's ok, but I find it a little more jarring than the rest of the album. Just a slight misstep in an otherwise perfect work of art.
Check out the videos from the album, too. They really complement the mood - especially the video for the title track, which has a very creepy David Lynch feel. I watched it before my first listen of the album and it really helped set the tone.
I highly recommend this album to fans of electro, darker-toned pop, or any brave music fan. It may seem overwhelmingly odd at first, but if you give it a chance, you may be greatly rewarded. Brilliant.
wierdos June 21, 2006
2 out of 6 found this review helpful
kinda avant gard, coilish clean synth and spaceyness. bjorkish lyrical choices. vocal distortions and gimmicks(thank god).Will always listen to this c.d. and will look forward to listening to it during winter and depressions. na na na. agree with other reviewers that the brother and sister duo do things vocally like nina haggins does. monsterish and free. this album reminds me of blackout drinking, molesters and...no, thats enough. I love 'cold cuts' ten bagazillion times more though.
Addictive June 3, 2006
5 out of 6 found this review helpful
Wow. This is captivating stuff: like artists such as M83, the Knife's Silent Shout has a "future noir" sound that brings drama, depth and vibrancy to the stereotypically sterile elements of electronic music. Simultaneously combining female, male, and high-pitched alien (!) layers within the same voice, the eerie pitch-shifted vocals give the melodies a slippery strangeness that is also surprisingly powerful. "Marble House", for example, soars with a chorus that is both heartbreaking and uplifting; "Forest Families" is like the evil step-sister to Ladytron's "Soft Power"; "Neverland" thumps along on a catchy yet otherwordly beat; and "The Captain" combines atmospheric instrumentation with a haunting chirp of a vocal that will send shivers down your spine. True, the lyrics on this album are a bit oblique and sometimes hard to decipher ("We had a communist in the family / I had to wear a mask"); but lyrics are not the point here as much as generating an emotion in the listener. And on that level, the Knife have definitely succeeded -- I can't stop listening to this album, and I definitely can't forget its effect on me. One of the best of the year so far.
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