The Knife, a brother-sister duo from Switzerland have always been rather strange, rather unique. On “Shaking the Habitual,” the 100 minute, two-disc opus from 2013, the siblings go deeper, darker and to more dangerous places than they’ve ever been, which is saying a lot as theirs has never been lollipop and rainbow pop music to begin with. Client for google translate pro v4.4.360.Bring the beauty and truth of the Bible into everyday life. With the YouVersion Bible App, you can read, watch, listen, and share on your smartphone or tablet, and online at Bible.com. The Knife Shaking The Habitual Rar warsworst.web.fc2.com › ♥ ♥ The Knife Shaking The Habitual Rar ♥ ♥ 'Shaking The Habitual' miraculously manages to go above and beyond the exceedingly high expectations I had after listening to 'Silent Shout', one of the greatest albums of the 00s.

On “Raging Lung,” a little more than halfway through the Knife’s gargantuan new album Shaking The Habitual, a few familiar words show up: “What a difference, what a difference a little difference would make.” Those words are familiar because Guy Picciotto groaned them on Fugazi’s “Blueprint,” a track from Repeater, my favorite album ever. With apologies to the little kid rocking the bootleg T-shirt in the Matthew McConaughey arthouse movie Mud, this is the most unexpected Fugazi reference I’ve come across lately. It’s unexpected because the Knife have spent an entire career building a completely opaque wall of mystique around themselves, never letting us see their faces or know their feelings. They seem to exist completely in an unknowable gothworld where faces melt and computer-whirrs cut the air, where a dense sensation of menace hangs over every moment. The idea of a teenage Karin Dreijer Andersson venturing into a Stockholm record shop to buy a Fugazi album is not the sort of thing that would’ve ever crossed my mind. But with Shaking The Habitual, the Knife have made their leftist political album, and Fugazi serve as patron saints for half the musicians making leftist political albums in the past couple of decades. Shaking The Habitual comes equipped with all sorts of data, from the graphics that flash at you on the Pitchfork stream to the grad-school manifesto the band released to the garish alt-weekly cartoon on the group’s own website, about how they want to end gender inequality and extreme wealth. And while I don’t imagine Shaking The Habitual will instigate any rich folks to abandon their gains for the common good, the album does strike at least one blow for the Knife’s cause: It will never, ever make anyone extremely wealthy.

Once upon a time, the Knife made pop music. It was stretch-out, fucked-around, radically taken-apart pop music, but it was pop music all the same. “Heartbeats,” the single that put the duo on the map, charted in a couple of countries, and then it charted again, higher, when José González covered it. Silent Shout, the band’s 2006 album, gasped and snarled and shuddered with a morbid grace, but the music was still pleasant enough that it showed up in the background on Ugly Betty. The music on Shaking The Habitual is not, by any stretch of the imagination, pop music. It’s not pleasant. It’s stressed-out, disoriented, evil, angry art music. It’s music built to push away, not to pull in. Shaking The Habitual might be the group’s first proper album since Silent Shout, but it’s closer in spirit to Tomorrow, In A Year, the impenetrable experimental opera that they released in 2010. It’s the moment the group goes long, stretching out toothsome vamps for 10 minutes at a time, then throwing two-minute bursts of exposed-gum-nerve glitch-noise in between them, and then dropping a massive 20-minute block of ambient drone in the middle of everything, as if to make it even unfriendlier. But for all its distancing tricks, Shaking The Habitual is still a powerfully compelling slab of music. If it represents the Knife’s best efforts to make something unlistenable, it’s not enough.

Because even if the band has largely decided not to make songs or hooks or riffs this time around, they’re still amazing at making atmosphere, at bending and melting the air around you. The album’s best moments have a stark and itchy rhythmic sensibility, one which doesn’t really work as dance music but which pulls your brain off into infinity the way some of the best dance music does. On “Stay Out Here,” Karin brings in Light Asylum’s Shannon Funchess and visual artist Emily Roysdon to wail along here, the three of them turning into a witches’-chorus version of the standard belt-it-out house-music diva. On “Wrap Your Arms Around Me,” she crows pleas of devotion over vast, wondrous synth-tones that remind me of the Ligeti music we hear when humans encounter the monoliths in 2001. “Without You My Life Would Be Boring” is the closest thing to a straight-up pop song here, but it wraps its considerable hook around skittering drums and keyboards that sound like mice wriggling in your brain. It’s all mood music of a very particular kind, mood music for when you’re in an angry and uncomfortable and misanthropic state of mind. And if you can find that state of mind, it’s pretty amazing.

Like Swans’ similarly huge and all-consuming The Seer, Shaking The Habitual isn’t an album that you can consume piecemeal; it’s an album that demands that you get in its level. You can’t stream a couple of songs on your laptop while you’re working and decide if you like it or not. You need to dim lights, close windows, turn off your phone, give into the experience. Approached from the wrong angle, a track like the 19-minute ambient drone odyssey “Old Dreams Waiting To Be Realized” is a fuck-you endurance test. But if you let the track sink in and fuck with your mind, it works like a tension-heightening drug, the way so much of the rest of the album does (though I’m still not sure what it’s doing in the exact center of the fucking thing). The microtonal pain-sculpture “Fracking Fluid Injection” is even harder to get through, but even that has the same basic effect. This is music for long night-time headphones walks, music for imagining every building around you burning. It has none of the immediate pleasures of Silent Shout or Karin’s Fever Ray album, but its immediate displeasures are potent things. As such, the album is one that resists the entire idea of the Premature Evaluation; it’s too huge and dense to get your head around within a day or two. But after just a day or two, I can tell you that it’s strong music, music that absolutely attains its goal of intensifying your stress. Time will tell if it’s anything more than that, but that itself is plenty.

Shaking The Habitual The Knife Rar File Online

Shaking The Habitual is out 4/9 on Mute.

more from Premature Evaluation

Shaking The Habitual The Knife Rar File Free

In all honesty, XLR8R doesn’t really need to weigh in on whether or not the new LP by Swedish duo The Knife is any good. It’s been seven years since the spellbinding Silent Shout ushered in a new era of moody synth-pop, four years after singer Karin Dreijer Andersson once again captivated The Knife’s fans with her bewitching Fever Ray project, and even Deep Cuts‘ decade-old hit “Heartbeats” continues to charm just about anyone who hears it. Basically, records like Shaking the Habitual arrive more or less entrenched in hype, expectations, and adoration. (XLR8R even went so far as to explore the highs and lows of the collective preconceptions before we’d heard more than a tenth of its music.) So, if we don’t need to explain why The Knife’s 98-minute behemoth of a fourth album is one of the best releases of 2013, we’ll instead talk about why it should be considered one of the most important albums in recent memory.

In interviews, press releases, and a recent short film called The Interview, Karin and her brother Olof Dreijer have spelled out in so many words that they had no intention of following up Silent Shout. But when the idea came up about three years ago, the siblings decided that any new work they embarked on would have to marry their political interests with whatever music was created. So they hit the books—studying up on political theory, gender issues, socioeconomics, ’70s protest songs, et al.—and emerged with the seeds that would grow into the driving force behind their new album. Musically, The Knife abandoned most of the haunted electronics which drew so many people to its previous full length (a risky move, no doubt). They sought out unique spaces to record their own live sounds, looking for a place “where the border between normal and strange is erased,” as Karin puts it in The Interview. She goes on to explain how she and her brother created their own instruments, played “traditional instruments in non-traditional ways,” and discovered methods of making “traditional sounds” in their own fashion. It would appear that The Knife was basically looking to explore the concept of what an album can be in 2013, and in the process, find a way to invert what popular music means. The notion is furthered by the pair’s expressed needs to “experiment with time” and make music “that is impossible to consume in a quick and easy way.” With all of this in mind, it’s easy to see that Shaking the Habitual had a distinct purpose from the start, something beyond the usual intent to entertain and make a profit. The Knife has used the LP format to carefully organize a deliberate affront on the way Westernized music and culture is created, commercialized, and consumed.

“Full of Fire” was the first leak to appear from Shaking the Habitual—though maybe not because it’s the album’s best single per se, but because it’s an all-encompassing representation of The Knife’s stark new direction. The song is a full-bodied treatise on the perversion of world history set to raucously disquieting protest music disguised as a 10-minute noise-techno track. Songs like “A Tooth for an Eye” and “Without You My Life Would Be Boring” might be better suited for the role of an easily digestible single, though even that feels like reaching. Driven by heavy assaults of tribal percussion, ghostly breaths of flute, and a rubbery hook made from who knows what, “Without You…” is an absolute standout which sounds something like Drum’s Not Dead-era Liars covering one of M.I.A’s early Diplo-produced tunes. “A Tooth for an Eye” is equally strong, and bears the closest resemblance to the bubbly pop format once wielded by The Knife, although it’s been stretched out to six minutes and is fueled by the raging flames of discontent.

While there are a handful of songs that do go down a bit more quickly and smoothly than the others, most of Shaking the Habitual comprises bouts of cavernous feedback, frenetic dancefloor tunes, and murky balladry that are all as equally disturbing as they are engrossing. The excellent “Raging Lung” explores a thumping, low-slung backbeat rife with heavy drums, groaning low end, and chirpy alien croaks. Karin’s brooding vocal melodies give the song a chimerical power when she sings lyrics like “I’ve got a story that money just can’t buy,” but once past the halfway mark, the track veers away from its chantable chorus into an instrumental jam session littered with discordant noise and the rattle of detuned guitars. And all of this follows immediately after Shaking the Habitual‘s proverbial elephant in the room: a wordless, 19-minute, warped and distorted noise composition whose presence can only be explained as “conceptual” or “metaphorical.” “Old Dreams Waiting to be Realized,” though it may very well be the least frequently revisited of the 13 tracks, almost feels like the entire reason why The Knife even bothered to record a fourth album. Obviously, the size of the thing demands that the listener confront its existence, but the fact alone that its two creators decided to use their enormous audio experiment as the centerpiece of what some might call a “comeback album” is the mark of genuine artistry and protest. (And to return to that space once again on the nine-minute “Fracking Fluid Injection” is borderline belligerent.) Suffice it to say that Shaking the Habitual is a “difficult” album in nearly every sense of the word, and rightfully so. Nothing that so directly and effectively challenges people’s ideas about the world around them could ever be familiar or effortless.

Shaking The Habitual The Knife Rar File Download

Most contemporary artists would give up any number of prized possessions for the stature and mythos that has been cultivated around The Knife’s singular view of music and remarkable live performances over the years, and the pair duly note this, often referring to themselves as “privileged.” Though it’s safe to assume they aren’t exactly oligarchs, they do have a certain amount of power, and set out to use that influence for a purpose outside of themselves on Shaking the Habitual. The merits of Karin’s and Olof’s skills as singers, producers, musicians, songwriters, and performers should be mentioned time and again when discussing their new LP, but it all seems secondary to the message they wish to get across. Every time the duo speaks to the press, its members gravitate less toward the years of work that went into their creative process, and focus on the reasons why they decided to take on the task in the first place. The Knife is clearly unhappy with the direction and perversion of Western music and culture throughout history, and quite literally wants to shake us until we can see it for ourselves. Regardless of whether they’re successful or not isn’t quite the point; what makes Shaking the Habitual so important is that The Knife used an important moment in their own history to truly subvert the hierarchy that both the band and the album exist in. Thankfully, they also wrote some near-perfect music in the process.