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On The Door, there is a sense that the sounds happening are not the products of the people creating them but rather those of some inscrutable (and vaguely dangerous) pulsing energy below our feet. It’s an amazing effect. And it’s created through the sheer power of quantity and repetition.
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UncutIt's Religious Knives' proto-PiL, art-punk minimalism and addiction to the motorik groove that mark them out as different. [Nov 2008, p.117]
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The WireThe group's debut for Thurston Moore's imprint witnesses the coagulation of the four-piece into something more identifiable as an honest-to-badness rock group. [Nov 2008, p.68]
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Stretching the sinews of their sound almost to the breaking point, Religious Knives find a balance between the repetitive rhythmic skeleton of krautrock and the psychedelic keyboard thrusts of early Doors.
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When Religious Knives stretch their limbs, they’re still good, but both 'The Storm' and 'On A Drive' lack the power of their more formed songs.
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They may have trouble making their speak-shouted vocals match up to the size of their compositions, but Religious Knives show they can make noise with the best of them, because those noises are embedded skillfully into steady songs.
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Religious Knives’ latest recording doesn’t implore repeat listens the way "Resin" did and still does.
User score distribution:
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Positive: 3 out of 3
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Mixed: 0 out of 3
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Negative: 0 out of 3
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EricC.Nov 22, 2008