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| Song Title | Time | Price | ||
|---|---|---|---|---|
| Play | 1. Silent Shout | 4:53 | $0.99 |  |
| Play | 2. Neverland | 3:38 | $0.99 | |
| Play | 3. The Captain | 6:08 | $0.99 | |
| Play | 4. We Share Our Mothers' Health (Album Version) | 4:11 | $0.99 | |
| Play | 5. Na Na Na | 2:27 | $0.99 | |
| Play | 6. Marble House | 5:18 | $0.99 | |
| Play | 7. Like A Pen | 6:13 | $0.99 | |
| Play | 8. From Off To On | 3:58 | $0.99 | |
| Play | 9. Forest Families | 4:08 | $0.99 | |
| Play | 10. One Hit | 4:27 | $0.99 | |
| Play | 11. Still Light | 3:15 | $0.99 | |
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Customer Reviews
Most Helpful Customer Reviews
31 of 34 people found the following review helpful
Format:Audio CD
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.
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.
12 of 13 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
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.
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.
6 of 7 people found the following review helpful
Format:Audio CD
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.
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.
Most Recent Customer Reviews
Review of Silent Shout
Silent Shout is the third album of Swedish electronic duo The Knife, composed of brothers Olof Dreijer and Karin Dreijer Andersson. Read more
Published on April 8, 2010 by Sydney
Original, song-oriented album in the 90s style.
The first song on Silent Shout is a contender for the best dance single of the decade. It takes many cues from Underworld's 1993 classic Dubnobasswithmyheadman: the sparse... Read more
Published on December 4, 2009 by Angry Mofo
Music for my DNA
Another one of those GREAT albums that I must absorb into my DNA. Many repeated plays to come!
Published on February 12, 2009 by Miss Stir Flippytale
incredible!
I bought this because it was listed on Pitchfork as the best album of 2006. I was skeptical, but bought anyway. Read more
Published on October 2, 2007 by SK
Sharp improvement
What a difference two years makes, it seems. The Knife's last album was so overwhelming and uneven that one had to wonder if they were nothing more than a sub-par singles group. Read more
Published on September 11, 2007 by Matthew T. Medlock
Conventionally Electronic?
I listen to a decent amount of heavily-electronic artists, but wow!, when I appropriated Silent Shout into my rotation, I'd not the faintest idea how quickly it would rise to the... Read more
Published on August 25, 2007 by Zampano Saramago
Catchy but not warm
While this is a very innovative album, I would offer caution to anyone diving in without knowing the content. The album is not listener friendly. Read more
Published on July 31, 2007 by A. Hebert
believe in this record
I am always skeptical but never fail to be blown away by the superb recommendations of the mighty indie music juggernaut Pitchforkmedia. Read more
Published on July 11, 2007 by Mr. Thistle
Cuts to the heart
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. Read more
Published on June 26, 2007 by E. A Solinas
Silent Shout
Silent Shout~ The Knife is a great album from one of the best electronic bands that I have heard in a very long time. Read more
Published on June 7, 2007 by Bjorn Viberg
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