At first it was very difficult as we really didn’t know anything about opera. We’d never been to one. I didn’t even know what the word libretto meant. But after some studying, and just getting used to opera’s essence of pretentious and dramatic gestures, I found that there is a lot to learn and play with. In fact, our ignorance gave us a positive respectless approach to making opera. It took me about a year to become emotionally moved by an opera singer and now I really do. I really like the basic theatrical values of opera and the easy way it brings forward a narrative. We’ve approached this before in The Knife but never in such a clear way -- Olof Dreijer.
For the most part, The Knife's Tommorow, In a Year opera is an admirable failure. One cycle, however, stands out most clearly as a brilliant achievement, a synthesis of all that makes The Knife and opera and experimentalism worthwhile - 'Colouring of Pigeons' (available to stream here). This 11-minute epic recombines operatic voice, Karin Dreijer Andersson and Olof Dreijer's unmistakeable voices, alternatively gamelan-esque and martial percussion, and deeply moving cello and halldorophone into what is more or less a classical opera song refracted through the structures and dynamics of dark house. This is what makes the track so gripping - The Knife force all the melodramatic elements of an opera song through the prism of their equally melodramatic and atmospheric electronica. It's a perfect match, made all the more perfect by the formal experimentation and minimalist arrangements the track is formed in. Each genre illuminating one another in perfect symbiosis.