The Knife: The MusicSnobbery.com Interview

For a while, The Knife were a band name to drop to impress others because of their under-the-radar status. The Stockholm, Sweden duo have an impressive following in Europe, with their 2003 break-out second album, Deep Cuts. A little song called "Heartbeats" was on that album.

Their wonderful and beautifully strange compositions call upon heavy computer programming and lot of early 80s new wave, synth pop. Their third album, Silent Shout, finds the band exploring more futuristic sound scapes. In November, The Knife make their U.S. debut with a series of shows, which finds the band behind a screen with visuals projected upon them.

Olof Dreijer and Karin Dreijer Andersson are the people behind the masks. I talked with Karin while she was in Sweden about the new album. I'd like to welcome her to this space.

Even though Silent Shout is your third album, it's the first that has a proper U.S. release. It's ironic that it's the most un-Knife like sounding album. It sounds different from the other two. Do you agree?

Well, I wouldn't call it un-Knife like. It's more like the first one [The Knife], than the second. I guess we're sounding more and more Knife-like with every album.

When you recorded this album, was it just you and Olof in the studio?

Yeah, we were in the studio on and off for a year and a half.

Is that by design? Is it that you don't want any outside influences?

We just don't want to compromise with other people.

Did you have a clear idea going in what you want the album to sound like?

We kind of did. We wanted this album to sound bigger and more emotional than what we'd previously done.

Being that Deep Cuts earned a lot of critical acclaim and attention, did you find yourself trying not to repeat what you did on that album while making this one?

I think we always want to try new things in the studio that we haven't done before. We spend time in the studios working with new equipment and synthesizers. Of course, we did not want to do Deep Cuts, Part II.

When I was first listening to the album, I sensed a lot of Asian-influences in the music. Many of the rhythms and instrumentation has an Oriental feel. Did you listen to Asian music to inform the music?

We were more influenced by Middle Eastern and Gypsy music more than anything. You'll find that in all of our albums. Well, that's what I think.

The first song is "Silent Shout." Was it important to you to set the tone of the album with the first song? It slowly brings the listener in with different layers of sounds.

Yeah, I think that's what we had in mind. It's kind of a sexy way to start the album. It sets up what's going to happen and what the album is going to be about.

Do you start with the music first or do you write lyrics first?

We always start with the music. It gives us the environment of the song. Then we find the beats and melody in there. Then we'll write some lyrics.

I liked "Marble House" cause it has a sexy feeling to it. Do you find that song sexy?

No. [Laughs]

Ohhhh. Well, I find it kind of seductive because it lets your voice come out. Do you prefer to hide or mix up your vocals rather than letting your voice come out naturally?

I always mix up the vocals and it's never natural. Even if you try to use your natural voice, the equipment will compress it and alter it in some way. I just prefer to change it from track to track.

"Neverland" is one of the few danceable tracks on the album. Do you have the listener in mind when you made that track thinking that they can dance around to it?

I wouldn't say that any track is a dance track or something you can play in a club. The album is best to listen to at home or on a long drive. But, if you want to dance to it, go ahead. I actually think "Silent Shout" could be a good dance track. [laughs]

Is there a song on the album you had to work on the most?

The songs we worked on the most never made the album. [laughs]

Awww, why is that?

It's just some tracks never get finished. We worked on every track for a very, very, very long time. It's good to work on a track, then leave it for a few months. Then when you come back to it, it's easier to work on. It's a long process.

Is there a song on the album that means the most to you because you poor a lot of emotion into the lyrics?

It differs from time to time. I don't have one track that means the most to me, so I really don't know.

I figured you'd say "Forest Families" because it tells a story.

That would be a good choice. It's the most clear. I have a clear idea about what each song is about, but sometimes it's not too obvious.

You finished the album in November. Do you feel differently about it now, then you did back then?

Well, we always feel different every time we finish an album. Each process feels different. When we finished Deep Cuts, we never listen to it for a while. Now, we need can listen to it many more times.

Now, it's the point where I must ask about "Heartbeats," which has taken on a life of its own thanks to Jose Gonzalez. When I talked to him, he said that you enjoyed his take on it and sort of given him your blessings. Now, it's almost his song because of his popularity. How do you feel about the song now?

It's funny because in Sweden, it's not Jose's song. We released it in Sweden about three years ago, and then he released his version the same year. Nobody cares about that track now. I do know that outside Sweden, it's a Jose track. I don't mind. [laughs]

Maybe you should remake one of his songs.

That would be difficult [pauses] well, maybe. He plays the guitar very well. I'm afraid we would mess it up. [laughs]

So you're coming to America for the first time to bring your music in a stage setting. I say that because I know you don't play "concerts" in the traditional sense. Are you nervous or excited or a little bit of both?

I more excited than I am nervous. It's going to be really nice. The only thing I'm nervous about is the traveling. We have a lot of shows right after each other.

Let's talk about the stage performance. You perform in masks. Was is it about masks that appeals to you?

With our music, we go into characters to tell our stories. It's a natural way of continuing that idea. The music has less to do about us. You should focus on the music and not us.

You should tour with Daft Punk and Slipknot.

Who is Slipknot?

There are an American heavy metal act that wear gory masks on stage.

Yes, I know now. There are a lot bands that dress-up or wear costumes for their shows. Look at Madonna. She wears plenty of outfits during a show.

How does it work in creating the visuals? Do you give Andreas Nilsson complete control over the show or do you give him ideas on what you'd like to see?

We leave it up to Andreas. We've been working with him for a long time, so he knows what we do. We do discuss visual references. If we come up with ideas, we'll talk to him about it, but we never limit him.

Last question, you and Olof are true brother and sister. Not some stupid Meg and Jack White concoctions, right?

Yes.

So what does your family think about you and Olof being international pop stars?

I don't know, at times I think they want us to get proper jobs or something.

Comments

[andrew]

A friend of mine just pointed The Knife out to me, but I haven't gotten around to listening yet. Now, I almost have to...

Oh, by the way, on October 14th and 15th, South is playing Mercury Lounge. I see they're in your "Music" list, and I really have to recommend their live show. Definitely go see them if you can.

[MusicSnobbery]

Hey Andrew. I did see that. I saw them in 2003 I think at SummerStage. I might go to those show, but I don't have many free weekends between now and when I disappear to Europe. My friends like to see me sometimes.

[Monsieur Moose]

Check out more about The Knife at www.forestfamilies.se