The studio version of the opera "Tomorrow, In A Year", out on the 1st March 2010.

APR 22 2010:
Tomorrow, In A Year, the Opera comes to London

The world seen through the eyes of Charles Darwin forms the basis for the performance. Danish Theatre production company Hotel Pro Forma’s striking visuals blend with The Knife’s ground-breaking music to create a new species of electro-opera.

Listen to the studio version of the Opera on here. More information on the Opera available at Hotel Pro Forma’s website or The Barbican’s website.

Tomorrow, In A Year at The Barbican:
27 July The Barbican, London, UK - Buy Tickets
28 July The Barbican, London, UK - Buy Tickets

MAR 8TH 2010:
New video: A Roundtable Conversation on Tomorrow, In A Year

'A Roundtable Conversation on Tomorrow, In A Year'
With The Knife (Olof and Karin), Planningtorock (Janine), Mt. Sims (Matt).
Performed by Olivia Plender. Images by Hort

FEB 9TH 2010:
A Roundtable Conversation on Tomorrow, In A Year

Listen to The Knife's Olof and Karin, Mt. Sims' Matt and Planningtorock's Janine interviewing each other in "A Roundtable Conversation on Tomorrow, In A Year".

JAN 28TH 2010:
Tomorrow, In A Year - Listen to the full album and buy now!

You can now listen to the full album stream, buy the digital album and pre-order the CD directly from
To listen click the 'Audio' tab, to buy the download or pre-order the CD click the 'Buy' tab above.

01. Intro
02. Epochs
03. Geology
04. Upheaved
05. Minerals
06. Ebb Tide Explorer
07. Variation of Birds
08. Letter to Henslow
09. Schoal Swarm Orchestra
01. Annie’s Box
02. Tumult
03. Colouring of Pigeons
04. Seeds
05. Tomorrow in a Year
06. The Height of Summer
07. Annie's Box (alt. vocal)

(The Knife)

(The Knife, Mt. Sims)

An intersection of the plain
by the bank of some great stream
the animal carcasses and skeletons would be
aa step formed terrace succession-
embedded years
accumulating so tranquilly small quadrupeds
So perfectly
epochs collected here

Vocals: Kristina Wahlin

(The Knife, Mt. Sims)

A stream of lava formerly flowed
over the bed of sea
triturated recent shells and corals
baked into hard white rock
A precarious matter.

I found a curious little stony Cellaria
each cell provided with
a long toothed bristle
capable of various and rapid motions
often simultaneous, and can be produced
by irritation.

Vocals: Kristina Wahlin

(The Knife, Mt. Sims)

Constant earthquakes
the wonderful force
which has upheaved
these mountains
these countless ages
required to have
broken through
and levelled whole
masses of them

Vocals: Lærke Winther, Kristina Wahlin

(The Knife, Mt. Sims)

White sand made up of shells upon which rests carious rock,
then prismatic feldspar between these and former ones, hard white rock with
yellow spots. A heap of white balls beneath white sand.
Same process now going on shore, living iron found in it.
Sand white from decomposition of feldspar. In places
every rock is covered with pistiform concretions. In places impossible to tell
whether it is Breccia of modern or older days. Lower
beds of white sand become filled with large boulders of lower rocks.
Beneath this comes a line of another stratum, more
soily and contains large and more numerous shells.
A regular bed of oysters remains attached to the rocks.

Vocals: Kristina Wahlin

Ebb Tide Explorer
(The Knife, Mt. Sims)

Examine, examine, examine
frame of mind, frame of mind
in following, in following
changes, changes
fall of sea, fall of sea
Examine, examine, examine
frame of mind, frame of mind
in following, in following
fall of sea, fall of sea

I’m watching the seaweed dance
upon the moving mountains of foam
collecting in the sand foot prints
I am leaving, leaving here
I’m watching the seaweed dance
upon the moving mountains of foam
collecting in the sand foot prints
I am leaving here

Vocals: Jonathan Johansson

Variation of Birds
(The Knife, Mt. Sims)

Scissor-beak lower mandible flat elastic
its an ivory paper-cutter
lower mandible immersed some depth in the water
it flies rapidly up and down the stream.

So that there are three sorts of birds which use their wings
for more purposes than flying
the steamer as paddles the penguin as fins
and the ostrich spreads its plumes like sails to the breeze.

Vocals: Jonathan Johansson, Kristina Wahlin, Mt. Sims, Lærke Winther, Planningtorock

Letter to Henslow
(The Knife, Mt. Sims, Planningtorock)

Vocals: The Knife, Mt. Sims, Planningtorock

Schoal Swarm Orchestra
(The Knife, Planningtorock)

Annie’s Box
(The Knife)

We have lost the joy of the household
and the solace of our old age

She must have known how we loved her
oh that she could now know how deeply
how tenderly we do still
and shall ever love her dear joyous face

Pure and transparent
her eyes sparkled brightly
she often smiled

Often threw her head a little backwards

Vocals: Kristina Wahlin Momme
Cello: Hildur Guðnadóttir

(The Knife)

Colouring of Pigeons
(The Knife, Mt. Sims)

Northern forms existed in their own homes
thousand – yellow – cocoons
under – over – through

A few southern vegetable forms
on the mountains of Borneo
under – over – through
donkey – peacock – goose

In the mouth of the river
a strange – scene – it is
every – thing – in flames

The sky with lightning
and the water, luminous
a strange – scene – it is
under – over – through

Six weeks old
Henrietta smiled for the first time
tail – habits – proof
instinct – that – moves

Emma saw him smile
not only with lips
but eyes
Erasmus – grab – a spoon
Europe – hides – wool

Mr Peacock and Captain Beaufort
endemic – alpine – grooves
bread-fruit – cinnamon – tunes

Tonight it’s blowing
thick bodies of spray whirled across the bay
Whatever – might – have been
the cause – of the – retreat

Columbia livia
great ages through
course of days
Tumblers, Jacobins
beak shapes, skeletal traits
Runts and Carriers
wooden hexagonal cage
Pouters and Fantails
tail feathers at what age?
grey and white spotted
markings in making
my great amusement

behind Land house a gental cooing
behind Land house the offspring’s moving
The delight of once again being home
The delight of once again being home

Vocals: Kristina Wahlin, Lærke Winther, The Knife, Jonathan Johansson
Drums: Hjorleifur Jonsson
Cello: Hildur Guðnadóttir

(The Knife, Mt. Sims)

Seeds immersed in salt water
in a tank of melting snow
enduring their full life time
enduring their full life time

10 distinct currents in the Atlantic
14 hundred miles in 42 days
transoceanic pods and capsules
Will old occupants allow for room and

transoceanic pods and capsules
Old occupants allow for room and

Vocals: Jonathan Johansson, Kristina Wahlin

Tomorrow in a Year
(The Knife, Mt. Sims)

An intersection of the plain
by the bank of some great stream
the animal carcasses
and skeletons would be
Tomorrow in a year
tomorrow in a million years
Ages resting in
the rings of a tree.
Fossils in lay in slate
marking the old forest’s edge
I’ve stood on a mountain
dividing three regions.
Then it was just a pebble
that I held inside my hand
In between each flap
of a butterfly’s wings,
countless changes
that have gone on unnoticed
A cricket rubs it’s forewings
together and I am forced
to think of the time that it’s taken
to build

Mountains fossils

Larva lava

As Algae moves through water.
Cupping the soil
Ages move across epochs.
Within my hands
There’s grandeur in this view,
It teams with life
a constant succession
these endless forms
My heart beats 70
times per minute

Stretching out over years
a wilderness
layer on layer life embedded in stone
stretching out before me
a wilderness

Vocals: Kristina Wahlin, Mt Sims, Jonathan Johansson, Lærke Winther

The Height of Summer
(The Knife)

In the morning I went down to the beach
and gazed out to the sea
Suddenly I was only a leaf
and you were an ancient flower

When I’m away do you think of me
or is it only when I’m present
on the cliff I lay my head down
now where the sun is

How is Charles
I haven’t heard from him for a long long time
A thousand years seem to pass
So quickly

We wash our hands in water
and we rub them with the cloth
I have an idea what comes after
what will happen when I’m gone

Along the coastline we sow some seeds
It is lemon it is mint
Then the buzzing cicadas
rock us to sleep

How is Charles
I haven’t heard from him for a long long time
A thousand years seem to pass
So quickly

Vocals: Lærke Winther

Annie’s Box – (alt. vocal)
(The Knife)

Vocals: The Knife
Cello: Hildur Guðnadóttir

Download the full libretto as PDF – Design by Bold Faces.

This is the music we made for the opera Tomorrow, in a Year, commissioned by Danish performance group Hotel Pro Forma. The work is based off of Charles Darwin’s On the origin of the species, his notebooks and other randomly selected Darwin related literature and articles, for example The Selfish Gene and The Blind Watchmaker by Richard Dawkins, Annie’s Box by Randal Keynes, How to Read Darwin by Mark Ridley, and Emma Darwin: The Inspirational Wife of a Genius by Edna Healy. This is a studio version of the piece with slight differences and variations from the performed opera. In the current performed version all vocals are sung by mezzo soprano Kristina Wahlin Momme, actress Laerke Winther and pop singer Jonathan Johanson. Originally The Knife were commissioned to make the music, but to try out a more collaborative way of working they invited Mt. Sims and Planningtorock. Not only to have a more fun and interesting process but also to capture the huge width of the theme Darwin and evolution. What we found most interesting about Darwin was his way of describing evolution in a non hierarchical way. Never using the word evolution, he instead chose to write about “variation” or “descent with modification”. Another fascinating thing when reading his journals is how necessary it was for him to not only question everything around him, but also himself in order to formulate his theories.

/The Knife, Mt. Sims, Planningtorock

Recorded, mixed and produced by the The Knife, Mt. Sims and Planningtorock in Berlin, Stockholm and Copenhagen 2008–2009. Live percussion played by Hjorleifur Jonsson, recorded in Sounds studio, Iceland, by Kyle Gudmundson and re-edited by The Knife, Mt. Sims and Planningtorock. Halldorophone on Ebb Tide Explorer and Colouring of Pigeons played by Hildur Guðnadóttir and re-edited by The Knife and Mt. Sims. Outdoor sounds were recorded at the Mamori Artlab Workshop on the Amazon river, Brazil. Vocals on Colouring of Pigeons was partly recorded by Johannes Berglund.

Mastered by Rashad Becker, Berlin

Artwork by Bold Faces

This work is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License, which means the music is free to use without asking, for non-commercial purposes. To view a copy of this license, visit or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA.

© Rabid Records 2010
(P) Rabid Records 2010

The Knife is published by Bert’s Songs / Universal Music Publishing

Mt. Sims is published by Jaques Socket Music

Planningtorock appears courtesy of Rostron Records Berlin
Management: Katie Riding/ptr@planningtorock

The Knife is managed by DEF Ltd, PO Box 2477 London NW6 6NQ, UK

Hotel Pro Forma

Ralf Richardt Strøbech (concept, set design, co-direction)
Kirsten Dehlholm (co-direction)
Anders Jørgensen (sound design)

The performance Tomorrow, in a year was produced by Hotel Pro Forma and co-produced by La Bâtie – Festival de Genève, Hellerau - European Center for the Arts Dresden, The Concert Hall Aarhus and Dansens Hus, Stockholm. The performance was produced in cooperation with the Royal Danish Theatre.
The Knife acknowledges the support of the Danish Arts Council – Committee for the Performing Arts for the performance. The world premiere took place on 2 September 2009 on the Old Stage of the Royal Danish Theatre in Copenhagen, Denmark.

We would like to thank Kirsten Dehlholm and Ralf Richardt Strøbech for inviting
us to this project.

/The Knife

Electronic press kit:
A Roundtable Conversation on Tomorrow, In A Year.

With The Knife (Olof and Karin) Planningtorock (Janine), Mt. Sims (Matt).
Performed by Olivia Plender. Images by HORT.

A Roundtable Conversation on Tomorrow, In A Year  by  Rabid Records

Biography by Ralf Christensen – December 2009, Copenhagen, Denmark.

Dear reader and listener,

Does life have a sound? Is it possible to put evolution to music?
When you venture into the music of Tomorrow, in a Year, you might get an idea. This is an artful interpretation and a sonic investigation of evolution, suggesting that life does not sound like serene divine harmonies in a clear hierarchy, but rather like an ever changing and expanding, slow motion jacuzzi of rhythms, voices, instruments fighting to reproduce, mutate, adapt.

These 90 minutes of music by The Knife and their collaborators Mt.Sims and Planningtorock are sparked by the pioneer of natural selection Charles Darwin and his revolutionary evolutionary findings and writings in his book On The Origin of The Species. First published in 1859 and based on the discoveries he made on his journey to Galapagos Islands from 1831-1836, aboard the good ship HMS Beagle.

These 90 minutes span the life of the earth, from the earliest geology, amoebas and insects, passing the dinosaurs, arriving at man, maybe looking further on. And they tell the story of Darwin and his ability to upset the established order and wrestle the ownership of creation from God.

This is development of sound and music as a battle between ideas, conquering the constantly changing moment. Hear the simple bleeps, glitches and tremolo of earliest life. Listen to the desperate high frequency twitters and the gut wrenching bass bellows fighting to adapt, not die on “Variation of Birds”. Inhabit the slow, violent, wriggling symphony of life maintaining some of its characteristics, swiftly discarding of others on “Schoal Swarm Orchestra”.

In the beginning there was the Danish theatre experimentalists Hotel Pro Forma and their idea of making an opera about Darwin. They contacted me in early 2008 to advise on potential modern composers. I suggested The Knife, since they’ve been the single most curious and thought provoking musical acquaintance I’ve made in years.

The Swedish siblings Karin Dreijer Andersson and Olof Dreijer are able to mix criticism of capitalism and patriarchy, exploitation of the human flesh, desperation of popular culture and mental claustrophobia into spiritually haunting, physically seductive and darkly visionary expansions of what synthetic, sometimes anthemic pop can be. Expansions that made room for new beings, weird, sad, beautiful entities, not only in the shape of the duo’s disfigured vocals, but also in the ever changing, home-built mutations of synthetic sound.

Hotel Pro Forma got The Knife aboard, and what followed was an experimental process, where the different creative parties – composers, choreographer, costume designer and set designer – worked separately and only three and a half month before take off started collaborating. And it all culminated at the world premiere of the Darwin opera Tomorrow, in a Year at the Royal Theatre in Copenhagen, Denmark on the 2nd of September 2009 – which you, dear reader and listener, can now experience as a musical piece in its own, well deserved right.

The musical process kicked into gear in March 2008, and on an early stage Karin and Olof Dreijer decided to puncture their own comfortable familiar bubble and open up to a more collective, more evolutionarily friendly structure with the English musician/singer Planningtorock and the American musician/singer Mt.Sims as creative family members. As well as engaging with the Danish mezzo soprano Kristina Wahlin Momme, the Danish actress Laerke Bo Winther and the Swedish pop singer Jonathan Johansson for the vocal parts. This forced all to migrate outside their safety zones, questioning their every decision along the way, coming up with new answers. A process drenched in the consciousness that music can evolve like organisms, through influence, reaction, adaptation, diversification.

During their research the collaborators experienced opera performed live for the first time – Verdi’s Aïda – but this didn’t reduce their profane approach to the art of making it. They studied concrete music – music made from only real life sounds, such as recordings of nature – atonal music, compositions for modern dance, as well as interpretations of Darwin.
“I enjoyed trying to find the musicality in Darwin’s writings”, says Karin Dreijer Andersson. “Using his words in a new context, making up a new tempo with elements written years ago. I read mostly his travel notes and letters, both his own and his wife’s. The warmth when writing about his family and the notebooks where he studied his children gives you a lot to think about – the father role and how little things have changed in the construction of family”.

“I was inspired by the notion of “origin”, and this became a starting point for the initial recordings”, recalls Planningtorock. “I had recently recorded with the Icelandic percussionist Hjörleifur Örn Jónsson for my new album, and I suggested we should travel to Iceland and challenge Hjörleifur to try and create strange, unique animal sounds using unconventional methods of playing his percussion instruments. Olof and I also recorded for example the inside of pianos and various other instruments. The end result was an amazing archive of sounds, which contained strong, physical presences and became the basis of the piece”.
As Olof Dreijer puts it: “We resampled what we recorded and tried to create the sound of a classical orchestra going crazy”.

Another archive was created in November 2008 when Olof Dreijer travelled to Northern Brazil, to the Amazonas. As part of sound artist Francisco López’ workshop, he went into the jungle with a hard disc recorder and a microphone to absorb nature at its most ecstatic.
“Just listening and being out in the nature really affects your approach to music. One very striking thing is your approach to time. The development of sound over time, and these long periods of listening really give you another approach to composition. And there are sounds that you at first think are random, like the rhythms of a frog chorus for example. But then you start to hear these very strict patterns and rhythms. It’s really fascinating”, he recalls about the work on capturing the different animals at their finest hour, which could be basically any hour. Meaning that the workshop often ventured out, with only the moon and heavy flashlights to carve visible paths through the rainforest. “You can only see just where you put your feet, and for every step you take, you have to be careful not to step on a crocodile or a snake”.

Selection and biodiversity are detonating all around us in infinitely slow patterns that never cease to develop, and the sprawling symphonies of Amazonas fed Olof Dreijer important raw material for Tomorrow, in a Year that ended up consisting of both field recordings and artificially/electronically made nature sounds. Which plays with the idea of authenticity and origin: Sounds from different material such as stones, rain, wind, animals mixed with Dreijer’s suggested, envisioned sounds of early amoebas, lava, tectonics, even birds of his mind. Imagination is also creation.

Darwin’s constant questioning, his aspirations and insights from his journeys and his writings have permeated the creative bones of The Knife and their collaborators. Infecting the circuits of their machinery, inspiring new methods of working, writing and controlling as well as letting go of the control in the creative process, letting evolutionary patterns take over.

The evolution of The Knife’s music is apparent from the first signs of life on this double album, and it soon reveals a more dramatic, epic, brutal quality. The quartet of Planningtorock, Mt.Sims and the Dreijer-siblings not only replicate and breed new species, but also re-build the sprawling pre-historic landscapes of evolution. There’s a sophisticated interpretation of primitivism at play, which reminds me of Igor Stravinskijs brilliant crushing of romantic tradition with Le Sacre du Printemps from 1913. But there’s also an explosion of inspiration that results in complex relationships and convulsions of contrast. Avantgarde of 40’s and 50’s embracing glitch and noise music of the 90’s and 00’s. The shimmering humane timbres of a mezzo soprano trying to float above the unforgiving rusty machinery in the labours of evolution. Composition clashing into chance. The 70 beats per minute of the heart of Darwin, the 120+ bpm in the techno-signature of “Seeds”.

It has in many ways been conceptual. You’ll find instrumentation, phrasing and rhythm based on the rhythm of different insects and animals, for example the chorus of poison dart frogs. And Olof Dreijer tried to trigger evolutions in his equipment, for example through the examination of the development of bird song. “How it starts with a simple beep, how note is being added to note, copied from the mother. So I did a feedback noise inspired by this”, Dreijer recalls. “I made a small short sound with the first electronic box and let it duplicate and self copy into other boxes, having slight changes in each box and in the end having it come out with a completely new character. Or having one sound duplicate into a branch of sounds”.
Olof Dreijer’s chain of electronic chambers of change relates to the way a gene is changing its character by “self-copying” as explained by the British biologist Richard Dawkins and his gene trees in the book, The Blind Watchmaker. Starting with a simple amoeba as the main trunk, which is then being duplicated, with different copies changing in different directions thus creating an ever more complex tree of mutating branches.
“Dawkins’ gene trees have been a big inspiration in the way a sound modulates and grows into a new sound. Everything is changing, varying all the time”, says Olof Dreijer. “We tried to capture the extremely slow evolution in the way we composed. Elements in the music should happen slowly over time, and also sounds come early in a piece and later come back to show how some things don’t change. Like the turtle”.
“But the aim has also been to strike a balance between the conceptual and the emotional. We had to find out what we could tell that wasn't already told by scientists. We can only give a feeling of what evolution is”, says Olof Dreijer. “The dialogue with the chemistry of the human psyche: What makes you get moved by a certain melody or lyric? Is it just because you’re just used to it? Is it a form of nostalgia or is it something physical? Can we become as moved by the sound of two stones rubbing together as we do by a melancholic melody?”
This tension is also found in the contrast of Darwin’s work on the many species and his notes about his beloved representatives of his own species. The cold analysis in the former, the warm love in the latter. And it is also to be found in The Knife’s earlier work, especially their latest album, Silent Shout from 2006. The analytical approach to the process of creating artificial life – transfiguring their own vocals and nurturing new synthetic sounds in the bowels of the equipment. But at the same time the communication of emotional impact, critical engagement, vulnerable participation in life as we know it and suffer from it.

This tension also breathes in the lyrics The Knife and their collaborators wrote for Tomorrow, in a Year, where Darwin’s analytical discoveries of evolution’s mercy and brutality are being intertwined with his joy of seeing early expressions and gestures of his children, but also the lament of his ten year-old daughter Annie’s death.
Matt Sims – who wrote the libretto for the opera in collaboration with Karin Dreijer Andersson – notes that it seems impossible to use Darwin’s scientific methods without applying meaning, value, even a feeling of compassion or identification.
“The empirical way in which Darwin wrote inspired a kind of cold empirical libretto. However the words can be applied to more sympathetic situations”, explains Matt Sims and points to how human interpretations and can still yield new meaning from the British scientist 150 years later. For example in Darwin’s notation on the geographical distribution of species through Atlantic currents moving 1400 miles in 42 days, which inspired the text for the song “Seeds”. “Upon reading his notes that dealt with the methodology, he used, I could not help also to relate his notion of the distribution of species with that of the globalization in modernity – social, economical and political”, Matt Sims explains.
Olof Dreijer expands on this inclination to a morally responsible and culturally aware reading of On The Origin of The Species: ”When I read Darwin I get a positive feeling of humans being just one out of many species. In a very non hierarchical way. But, having more developed brains, it’s also the human species’ responsibility to do something better, to show that we can be more equal. I see humans as mainly cultural beings, because I think it’s dangerous to start applying what you think could be “natural” behaviour to humans”, Olof Dreijer says.

There’s a Darwin quote that has been resonating through the process of creating the music of Tomorrow, in a Year: “How to say something that had never been said before, in a way that made it sound like something everybody had always known”.
It’s all in our genes. The fellowship. And we know. But the knowledge might disappear in software updates and household budgets. So, here’s 90 minutes of recollecting that we are all just adaptors in the grander liquid design of evolution.

In accordance with this humbling thought The Knife has fittingly decided to open for further evolution by releasing Tomorrow, in a Year under a Creative Commons-license, that modifies the copyright of the release. Meaning that the music can be legally replicated, remixed, mutated, reinterpreted by anyone as long as it’s on a non-commercial basis.

“We see the music we’ve done as musical exercises on all the stuff that we’ve read, and we think that this research, if you like, should be spread. Also I want to encourage a creative way of listening where one can adapt and change the music and make new versions”, Olof Dreijer says and thus distances himself and his collaborators from a romantic idea of the artist as the owner and conveyor of unique, if not divine inspiration. An idea that refuse to die even in the new collaborative climate of the online world.

Creation and imagination isn’t owned by one person, deity or corporation, but shared and experienced by all. Darwin himself modified his masterpiece several times. He remixed and expanded on On Origin of The Species through six editions, the sixth one published 13 years after the original, being the first to contain the word evolution. He would most likely appreciate the evolutionary purposes of a more relaxed kind of ownership, if he was alive today.

So, let go. Relax. We’re in this together. All part of the slow explosion of selection, here transmitted in an artistically highly evolved form. Closed headphones and open mind are strongly recommended.

Ralf Christensen – December 2009, Copenhagen, Denmark.

The Knife –
Mt. Sims –
Planningtorock –

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