The Knife: Like A Pen 

(2006) 

is Andreas Nilsson's fourth video for The Knife, taken from their album Silent Shout. A colorful, hysteric journey starring a brown little curved fellow.

"It was never my intention to make music videos to begin with. Actually, I'm a painter."

 

A long-time collaborator of The Knife, Andreas Nillsson has arguably played a more important role in the visual adventures of the band more than any other visual artist. From the pencil-drawn animation to N.Y. Hotel (co-directed with Andreas Korsar), the hypnotic skateboarding meets animated crows of Heartbeats (co-directed with Johannes Nyholm), the spectral horror of Silent Shout and the boogieman stop-motion of Like A Pen, Nilsson has transferred their music into film to great effect. He's also the brains behind the theatre that comes with their live show (and the Fever Ray set), using 4 projectors, 2 transparent screens to give a 3D hologram effect and 2 giant paper mache dolls that often mouthed the backing vocals on the last tour. In an interview with Olof in 2006, he explained why they keep returning to work with Andreas: "He understands us best. The aesthetics in his work can be surprising. They're more about feeling than the images though. He creates the feeling and image that represents our music."

 

Source: Dummy

 

 

The Knife: Like A Pen, punk, editing, Video Clip

Reading

Rewind, Play, Fast Forward (2010) – The Past, Present and Future of the Music Video by Henry Keazor, Thorsten Wübbena (eds.) brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. (transcript Verlag)

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

 

SEE ALSO

Visual Kitchen explores the semantics of live AV performance and video art from a background of VJ’ing and music video production. As designers of moving images, VK adapts any kind of (non-)narrative structure into dazzling trips of visual flux, combining rigorously structured loops with soft- or hardware-generated chaos. The output is very diverse and versatile, from analogue photographic to digital minimalism, exploring the parameters of the canvas. (Visual Kitchen)

Holger Hiller (*1956) is a conceptual composer, music producer, writer and video director based in Berlin. His work appeared on German independent labels as well as on Wave Records (Japan) and Mute Records (U.K). (Holger Hiller)

Michael Fakesch: Crest (2008) - Visual Kitchen's contribution to Michael Fakesch's vidos project. It is one of five angles they have made for the relatively short track Crest. The DVD, selfpublished in collaboration with fluctuating images. (Visual Kitchen on Vimeo)

Audio-Vision: Sound on Screen (1994) by French critic and composer Michel Chion reassesses audiovisual media since the revolutionary 1927 debut of recorded sound in cinema, shedding crucial light on the mutual relationship between sound and image in audiovisual perception. (Colombia University Press)

4youreye was established in the early 1990s and is based on the Rave, Ambient and Club culture of that decade. 4youreye have, since their creation over 10 years ago, not only made a name for themselves in their own country but can also look back on manys uccessful international performances. The 2 man Crew stand for fast hard cuts and unconventional screen sequences taking images that we believe to know from old viewing habits, out of their original context to then generate them into a completely new context. That, what music tries its best to express, is portrayed here in always changing picture collages. (4youreye)