The Knife’s Shaking the Habitual tour is “misanthropic, challenging and artful” | Consequence of Sound
Interesting, to say the least.
Interesting, to say the least.
I do think it ‘s a bit lazy to write it off as going off into a path that will lose people, and if it does, so what? That’s the privilege Karin and Olaf talk of in their interview, a privileged point that they can do as they please which is part of their charm. Yes, there’s an ambient thing going on for almost 20 minutes that will test the patience of some, but it’s still good and could be used to meditate to (come on positive spin), it’s no accident it’s called ‘Old Dreams Waiting To Be Realised’.
“It provides a glimpse into the desires, intellectual enthusiasms and (unsurprisingly dense) reading list guiding one of music’s most shadowy duos. At its most mesmerizing, its conceptual rigor and occasional inscrutability are overpowered by a disarming earnestness: It is a musical manifesto advocating for a better, fairer, weirder world.”
Read Douglas Wolk’s review of Depeche Mode’s 13th album, Delta Machine.
That Pitchfork review doesn’t come as a surprise. I disagree.
“A YouTube comment neatly sums up Grimes to the uninitiated: ‘This girl is weird, but she’s definitely growing on me.’ Yes, that’s what she does :)
“You will struggle to find a more compelling and unusual dance release to have emerged so far this year.”
“Walling was far more animated on stage than expected and coupled with the cerebral visual projections and aural tension, it was wonderful to see an artist of integrity deliver with such conviction.”
“It’s quite a hard techno sound, occasionally foraying into Chemical Brothers (yep, ‘Setting Sun’ really) put with a short film full of gender and class politics. ‘Asking questions’ the lyric repeats and surely does visually with cross dressing domestic workers, motorcycle, gender blurred bondage, and urination in the public domain, representing all difference in humanity and that that is often hidden.”
“And there’s a void where a dance beat would go, a hollow bordered by sporadic ratchety sounds up above and, far below, skulking bass lines and sporadic kick-drum thuds, with hazy sustained electronics in between. They’re techniques derived from genres like Southern hip-hop, drum-and-bass, minimal techno and witch house; Purity Ring uses them to create beats that are more like slow, heaving respiration than obvious propulsion. But at Webster Hall a dancing audience picked up the implications.”
“Mammal treads similarly dark and dreamy, but more aggressive terrain. As rich in thematic sources as its sonic palette - inspired by the 1982 Morricone score for John Carpenter’s The Thing and the intense, horror-rap of Death Grips – it explores “the alienation of human physical form” – a constantly recurring muse for Walling.”