Gorgeous
s.t. | Philadelphia | 02/27/2010
(5 out of 5 stars)
"I know, I know. An electro-opera based on the life and work of Charles Darwin sounds like an awfully pretentious endeavor. And it is. But this isn't a bad thing, since the pretensions of the artists are actually fulfilled. Here is an example of an idea that could very easily yield a throwaway gimmick from too-clever musicians, yet has inspired something haunting and beautiful, something that feels both profound and personal.
Fans of the Knife as a synth pop group will likely be disappointed, as only two tracks have anything resembling a beat, and none of it was made for the dance floor. But those who also look to the Knife for their moods and textures will have much to savor here. This isn't an album of warped pitch-shifted vocals, but it does have the same fascinating contradictions of Silent Shout: the raw humanity woven from synthetic programming; the warmth emanating from sounds of dark, icy cold.
Interestingly, the electro-opera stylings of some of the pieces, such as "The Colouring of Pigeons," bring to mind the more atmospheric side of Klaus Nomi. But unlike Nomi, this is a work that takes itself very seriously. Too seriously, some will undoubtedly say. Even if this is true, though, it hardly takes away from the power of the songs as they glide and percolate through your body in crystalline perfection.
Because this album lacks the visual component of the opera, I know I'm missing the work's gestalt. While I do look forward to seeing a performance some day, I feel that the songs of "Tomorrow, In a Year" stand alone as a complete work, not to mention a brilliant addition to the Knife's legacy, and possibly my favorite album of 2010."