“Green lasers cut through the darkness, hard and green, like lightning harnessed. Bodies move in the darkness, illuminated by glowing lamplight – men with the faces of birds, a figure clad in flowing red like a masked Red Death. And there, shifting and bobbing in the gloom, is a mossy monolith that conceals one Karin Elisabeth Dreijer Andersson. “If “I had a heart I could love you,” she moans, her voice pitched down to a zombie groan. “If I had a voice I would sing…”

Fever Ray has been named at no. 72 in The Times’ list of the best albums of the 00’s:

“A feeling of spikiness mixed with earth … like sucking in woodchips,” opined an awed Florence (& The Machine) Welch on hearing this. Welch’s words are well chosen. Played out in the electronic shadow-world of this solo debut, Karin Dreijer Andersson’s panicked pop noir meditations are breathtaking”

See the list here.

“Anyone starting a band should be forced to study Fever Ray at great length for a lesson in how to do things properly. From album artwork to music videos and appearance every corner that could have been cut by Karin Dreijer Andersson has instead been laboured over and treated with conceptual love resulting in a beautiful and awe-inspiring project which, in the live arena, achieves a celebratory climax.”

Read the full review here.

“The latest is “Keep the Streets Empty for Me,” a phantasmagoric neo-noir that briefly suggests Riisian muckraking by way of Dogme 95 realism, but which the directors, Jens Klevje and Fabian Svensson, say draws more from Jungian symbology and Japanese horror films. “On the blogs, people have mentioned ‘The Road’ as a reference point,” Klevje says. “It’s the dystopia feeling.””

Read the full article here.

“Ljusshowen har en förmåga att ta andan ur publiken och bildar en perfekt symbios med musiken där spår som When I grow up, kvällens främsta, får en ytterligare dimension, ja näst intill en överdos av dramatik. Det råder inget som helst tvivel om att Fever Ray var det skarpaste svenska musikuttrycket på en livescen under 2009. Om detta nu är slutet på Fever Ray och början på ett nytt kapitel för The Knife återstår att se. Dreijer-syskonens vägar är ju så genialiskt outgrundliga.’

http://www.svd.se/kulturnoje/scen/artikel_3841231.svd

“Every now and then you come across a musician that makes you sit and listen in awe; a musician which gives you no choice but to enter their world. Karin Dreijer Andersson is a most persuasive tour guide into the darkly dreamy world of Fever Ray.”

Read the full article here.

“There’s a strong case to be made that Fever Ray is the Music Video Artist of the Year. For the latest clip from Knife singer Karin Dreijer Andersson’s debut solo album, we get a somber black-and-white clip featuring a fashionable homeless girl meandering through a barren cityscape. The video was directed by Jens Klevje and Fabian Svensson”

Read the full article here.

http://prettymuchamazing.com/music/fever-ray-seven-the-twelves-remix-pma-premiere

“Fever Ray’s current single Seven is a smooth, filmy track about daydreaming in your youth… about suicide. At least that’s what I got from it. But despite it’s dark undertones, there’s no reason why Seven shouldn’t be a jam. The Twelves and I shared these sentiments and I’m psyched to premiere their Halloween-like disco remix.”

http://www.residentadvisor.net/review-view.aspx?id=6703

“An overflowing crowd waited amidst blue light, a low drone came across the soundsystem, incense quickly filled the air with a nearly opaque wave of smoke. Karen Dreijer Andersson and her four band mates took the stage as costumed silhouettes and remained as such for the first several songs. It was exactly the beginning of a sold-out Fever Ray show at Webster Hall that you’d expect.”

Interview with Fever Ray artwork designer Martin Ander in Monster Children Magazine, read the piece online here:

http://sleevage.com/fever-ray-fever-ray/#more-1964

“A paranormally gifted woman stands in front of a barren, twisted and wintry landscape, her face expressionless and intentions unclear. The mysterious cover of Fever Ray’s self-titled debut album invokes a pitch-black, pagan sensibility.”