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atm-fever ray stage

Having only listened to Fever Ray a few times and thinking it was pretty sub par at first, I was feeling a bit…eh, about going to Fever Ray last night. Even I knew that this was a show not to be missed, that the  mystical and ethereal creature that is Karin Dreijer Andersson surely could not disappoint in both a live show and a live performance. I slapped myself out of my temporary petty stupor, got myself a ticket, and found myself getting a bit giddy about going to a show that totally was going to make us trip like we was all up on that acid.

At the end, I looked at the time and saw they only played for 60 minutes. In normal circumstances, I’d be a bit angry. I mean, Telefon Tel Aviv was 60 minutes but was only 20$ and it was awesome. So, I let it slide. THIS was 30$, one hour, and I CREAMED MY PANTS. The sound in Métropolis was OK, my earplugs made it waaaay better. To be honest, I don’t even think Bell Centre could have handled that much bass. I feel so bad for everyone that didn’t have ear plugs because I’m sure the hair follicles will need at least a few weeks to recover from the nuclear war that was just ensued on our bodies. This show was amazing. The lighting, the costumes, and the music, the entire package was just incredible, fluid and created a certain ambiance, a certain atmosphere that I don’t think can be reproduced again. I couldn’t help but dance like I was in Zion. I couldn’t help but close my eyes just to absorb more in the dark, because my powers have been heightened here, the dark, the natural habitat of the Fever Ray.

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MMM I had somewhat high hopes for Fever Ray’s (aka half of the Knife, Karin Dreijer Andersson) self titled debut album. This LP just ended up being a much muuuuuuuuch poorer version of the Knife’s Silent Shout and is quite different from Deep Cuts. I’ve come to the realization that I had to throw this connection between Fever Ray and the Knife away. I was gripping onto this notion so tightly because I’ve been desperately awaiting some sort of news or new material from the Knife. But Fever Ray is Karin Andersson. At first I thought it was just one big extension of “Marble House” where her and Olaf (her brother) downplayed the crazier upbeat darkness surround the Knife’s records. I was wrong about this part.

Edit: Thanks to an informant, I was told that Olof actually doesn’t make an appearance at all!

Karin says in an interview: “I already know what my own voice sounds like,” she continues, “so I think it’s much more interesting to treat it as an instrument and treat it the same way I treat other instruments. But with the vocals I cannot only change the pitch, but the gender. It’s a very fun to do things like when Olof and I change rolls and see what happens, and if you can tell if it’s me or if Olof is doing something.”

She sure fooled me! Maybe that’s why I thought Olaf was helping her out with vocals on this album. I think that’s amazing that she shifts between identities, something that most artists don’t do because they want their voice to be distinct, recognized, and immediately pointed out to. But this doesn’t change this fact for Karin. Anyone in the “indie music” world would be able to spot her voice with the tiniest of samples. Karin’s voice is unsurprisingly magnetic and is the true hero behind this album. It shapes the darkness that encompasses this LP amidst the drones and depressed hysteria. Fever Ray is truly a unique album despite unremitting sub/conscious citing of the Knife. Needless to say, even though my expectations are not met with Fever Ray, after giving it more listens, I’ve come to realize that it truly is a fantastic album. Yes.

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