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Karin Dreijer Andersson's solo project is titled Fever Ray. It's her first venture back into the public eye since the pair's hiatus in 2007. "I don't feel the need to make music when I'm happy," she says.
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Karin Dreijer Andersson By Mario Aguilar, SOMA Magazine
Karin Dreijer Andersson's solo project is titled Fever Ray. It's her first venture back into the public eye since the pair's hiatus in 2007. "I don't feel the need to make music when I'm happy," she says.
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Karin Dreijer Andersson's solo project is titled Fever Ray. It's her first venture back into the public eye since the pair's hiatus in 2007. "I don't feel the need to make music when I'm happy," she says.
Авторское право:
Attribution Non-Commercial (BY-NC)
Доступные форматы
Скачайте в формате PDF, TXT или читайте онлайн в Scribd
a Voice of Her Own as Fever Ray In an airport, between promotional engagements, Karin On Fever Ray, Andersson sends the isolated grown-up Dreijer Andersson tells me about her solo project Fever Ray. with a personality disorder of Silent Shout to therapy, using She knows I’m not the only one listening. music to analyze everything from her childhood experiences Anderson’s voice has garnered a lot of attention over the last (“Seven”) to the spiritual minutiae of interpersonal relation- few years as the manic shrill drone Jekyll and Hyde vocalist ships (“Dry and Dusty”). “The vocals are different kinds of of the Swedish brother-and-sister duo The Knife. Fever Ray mental characters I like to work with,” she says. “They are (Mute: 2009), her eponymous solo debut, is Andersson’s different kinds of emotions.” On Fever Ray, she further hones first venture back into the public eye since the pair’s hiatus the personalities in her vocals. Computer processors become in 2007. less a form of real-life reflection, revealing the moody dualities After each question, she opens her mouth and exhales a of a droning, pained interior and a cheeky, innocent exterior. breath of dry air before answering. Even routine questions As Andersson dives further into her subconscious, the get a moment of reflective silence. Why make a solo record? moments of musical epiphany are fewer, and they’re marked “I thought it was important for me to find out if I could make by melancholy and awe. “We sampled my guitar and chopped music on my own.” it up to create many of the sounds,” she explains. “The music Fever Ray is Andersson’s most self-conscious record to has a much more organic feel.” The production on Fever date, and it reverberates with the fear that if it wasn’t for a Ray reads more like a surrealist landscape than the sculpted slick pop song (“Heartbeats”) from The Knife’s second record rhythmic narratives of Silent Shout. “I tried to find a tempo Deep Cuts, their creepy, restrained follow-up album Silent that suited my ideas,” says Andersson. “It’s like a slow-motion Shout, for all its subtle brilliance, might have gone altogether state, and it’s a little bit thicker.” The music has more unnoticed. emotional weight and body—persistent percussion behind Fever Ray isn’t just a solo project; it’s a solitary effort. It’s slow-tempo synthesizer hums are lathed by gloomy vocals; the a search for the emotional center of that searing, captivating ethereal effect produced contrasts with playful melodies which voice that drove Silent Shout (Mute: 2006). Andersson did sway in and out of the foreground. all of the writing and most of the recording for Fever Ray by Fever Ray begins with the first single “If I Had A Heart”—a herself and it teems with introspection. She crafts dreamlike brooding, moribund study that finishes with a sense of landscapes that flow from remembrance and recent experi- uncertainty, or a discomfiture with what is. The refrain says ences. It’s sad music. “I don’t feel the need to make music it all: “Give me more, give me more.” Despite every reason to when I’m happy,” she tells me. There’s hope for revelation be content, Karin Dreijer Andersson wants more. “I’m always buried in the artistic and personal exhaustion of having a looking forward,” she says. “The big thing for us is trying second child and being one half of The Knife. “I haven’t slept something new, experimenting, and seeing what happens when very much over the last couple years,” she confesses. “It’s you make things up.” definitely influenced me.” Text Mario Aguilar Photography Elin Berge