the kniφe - shaking the habitual

Listening for the first time away from a 128kbps stream and OOFT. So much better. That extra level of dynamics really ups the listenability.
My Coil reference earlier seems pretty spot on. "Old Dreams Waiting To Be Realised" is basically "Queen of the Circulating Library" without the kitsch voiceover.

Not so much a dream collaboration of Bjork, Dead Can Dance, and Coil as their collaborative mixtape.

I'm predicting Pitchfork gives this 8.7

Guardian gives it three stars. Lucky to get that really, from what I've heard.

https://soundcloud.com/dazedandconfused/the-knife-a-tooth-for-an-eye

^ Cooly G remix

WTF was up with all that "we did a lot of research about gender politics" line in interviews? How does that manifest itself?

that remix is great

i like the way cooly's line of thinking appears to have been "first i'm going to change the beat, then i'm going to change everything else about the song"

Not so much a dream collaboration of Bjork, Dead Can Dance, and Coil as their collaborative mixtape.

Three acts I wouldn't mind never hearing again in my life.

http://www.spin.com/articles/the-knife-shaking-the-habitual-interview

these folks are so rad

The album's "Old Dreams" creates a strong contrast with the more rhythmic material on the album. It's long, it's quiet, you need to turn up the volume for it — it's really the opposite of the way people listen to music on YouTube and their phones.

no disrespect to Phil but you know, I don't see how occasionally using my phone or YouTube suddenly mean I don't have a volume dial or a brain.

well you dont

are you saying i don't have a brain or making a point about volume dials? i'm on yellow alert here.

Her's the Pursuit Grooves remix - http://www.gorillavsbear.net/2013/04/05/premiere-the-knife-a-tooth-for-an-eye-pursuit-grooves-remix/

the german spiegel online gave this 9.5, i don't think they give such high notes very often.

Was in Bristol yesterday and Rise Records had the CDs of this on sale already, so I picked up the double. Just stuck it on the big hifi and it sounds AMAZING. Not heard a note except very very distractedly on 6music prior, so coming into this blind.

I'm predicting Pitchfork gives this 8.7

― crowhurst, Friday, April 5, 2013 6:38 AM Bookmark Flag Post Permalink

close...

*dies of shock*

Was expecting them to get excited enough to 9.something it, honestly.

i dont really get why they would give it 8.4 and best new music when there are albums that get more than that and dont get BNM? do they basically have to give it that honor because it's ~The Knife~?

BNM doesnt correlate completely with scores

youll have to ask a pitchforkologist but i think like, a high 8 score but no BNM means 'really good genre album'

whereas a 'MBDTF' means "we're gonna troll everybody and get some of those unique ip addresses by putting a '1' in front of the '0.0'"

lots of backhanded slaps at their first album in that review

Listened to this album this morning... enjoyed it for the most part, but probably won't be listening to the whole thing in one sitting too often.

that review pisses me off because the debut is so so so so SO much better than Deep Cuts

Keith Fullerton Whitman's Playthroughs received a 9.7 about the time Best New Music was just starting but did not receive the distinction. I asked Ryan Schreiber about this once and although he said he personally loved the album, it simply didn't have wide enough appeal to merit a BNM.

haha i was waiting for u to post that and on cue xp

lol

I mean, I do love "Pass This On" and "You Make Me Like Charity" and "You Take My Breath Away" etc but "Heartbeats" is overrated and most of the other fantastic songs are Hannah Med H material

meanwhile the debut has gloriously weird, understated stuff like "Neon", "Lasagna", "A Lung", "NY Hotel" and "Reindeer", all of which pretty clearly signpost the various odd directions they've branched out in starting with Silent Shout

Does anyone actually care what does and doesn't go into BNM other than lamers who want to be spoonfed everything?

Proposing an automatic threadban for anyone who's all 'Let's predict the Pitchfork score!' on an anticipation thread as well.

my wh4t.cd ratio appreciates it

Thatcher's death is gonna get a 9.3 next week

you have the power to make it happen xp

Anyone who takes it below 10.0 is a scab imo.

I wonder, can we take Brent D's Kid A review and replace all of the Radiohead references with Thatcher references and still have it be awesome?

Does anyone actually care what does and doesn't go into BNM other than lamers who want to be spoonfed everything?

― Matt DC, Monday, April 8, 2013 4:09 PM (6 minutes ago) Bookmark Flag Post Permalink

Proposing an automatic threadban for anyone who's all 'Let's predict the Pitchfork score!' on an anticipation thread as well.

― Matt DC, Monday, April 8, 2013 4:11 PM (5 minutes ago) Bookmark Flag Post Permalink

for fucking real

I don't like this either but actually seeing people complain about it makes me want to start a rolling "predict the Pitchfork score" thread because, well, I have a sickness

It got three-and-a-half stars in the Chislehurst Chronicle, by the way.

it's bad enough that there are so many weirdo p4k-watchers but even worse is the obsession with "bnm" and the exact fucking decimal score and then nobody can be fucked to discuss what was actually WRITTEN

obviously some arbitrary little label is much more important though

What if there was betting involved? Would it be fun then?

Talking about BNM usually happens because we know that tag affects record sales/overall attention dramatically and collectively shapes tastes in the indie world.

okay where's my popcorn

Not saying I think there is any value in predicting exact scores at all.

I like BNM as an indicator of, like, what's getting lots of traction and stuff but I certainly don't listen to BNM stuff exclusively

maybe I am a dumb indie sheep :(

ayo dudes i dont really care about BNM u can chill

It's not the only thing ever to do this to me but my first listen to this album reminded me of the super intense time I turned on the tv in the middle of the night at 10 years old and saw the entirety of Gregg Araki's The Living End.

I listened to this on headphones for the first time today and it's kind of monstrous. Although I can't work out if the drums and flutes on Without You My Life Would Be Boring are endearingly wonky or unspeakably naff. There's a distinct air of 'midday jam session in tiny Glastonbury hippy tent' about it.

'Stay Out Here' is amazing.

Endearingly wonky IMO.

There's lots of moments here that insistently and incessantly whisper '1989' to me for as yet unfathomed reasons.