Guardian: 4/5 For all the iciness, there was a beating heart in there

Observer: You emerge from tonight’s gig with a sense of mystery and possibility intact, something all too rare in these over-examined times.

Independent: 4/5 Her voice live can be as sharp and as sourly powerful as it is on record. Wrung through a voice transformer, as on “Concrete Walls”, it’s a growl that sounds like it’s escaped from a deep underground lair.

Resident Advisor: 5/5 A genius of singing, songwriting, musicianship and pure stage theatre, Karin Dreijer Andersson has it all, and as long as the results are like this she’s welcome to tease us with as many “farewell tours” as she likes.

Drowned In Sound: ‘Coconut’ slams great divots into my already battered skull, and by the end even the sound men are trying to rupture my senses, as the bass is turned up to a slightly comical ‘eardrum purification’ level. You just gotta love that shit.

MusicOHM: 4/5 A magnificent albeit quirky experience, a fitting accompaniment to the music’s mysterious charm.

DJMag: Cue a change in lighting to strafing lasers for the final few tracks, accompanied by echoing subterranean bass that gives even DMZ a run for their money, and you leave feeling you’ve experienced that rare thing; a music artist who genuinely justifies that title

Scotsman: The audience cheered their favourite tracks but this was a seamless performance to be absorbed as a total experience.

The Fly: Everything from the brisk beat of ‘Seven’ and the creepy sprawl of ‘Concrete Walls’ to perhaps the most obvious fan favourite, ‘When I Grow Up’, works in sync with the live visuals so perfectly you don’t know whether to dance or just stare, slack-jawed and in awe.

Fever Ray at Olympia by Oliver Peel

“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

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.”

http://www.wouldbehipster.com/2009/10/fever-ray-henry-fonda.html

“Interestingly enough, despite standing in the second row, I still have no idea what Karin DreijerAndersson looks like. Fever Ray may ultimately be the expression of a solo artist, but it’s become so much more — a fact driven home by elaborate stage design by Andreas Nilsson. Fringe-adorned lamps blinked ominously to the beat-heavy music. Clumps of incense burned at the front of the stage — their sick sweetness washing over the audience. Man-made pathetic fallacy at its finest, fog freely billowed. By the end of the set the entire room would be nearly obscured.”

http://latimesblogs.latimes.com/music_blog/2009/10/live-review-fever-ray-at-the-fonda.html

“[Fever Ray works] at the absolute forefront of sound, stage and the ways the two inform each other…Fever Ray never shies from its more theatrical and modern impulses, the real emotions Andersson’s music brings out — enticement, disquiet and unknowable mystery — are much older than the stage”

http://www.clashmusic.com/live-review/fever-ray-live

“Attempting to put Fever Ray’s live show into words is a bit like trying to tell someone about the weird dream you had last night. It’s virtually impossible to describe the Swedish banshee’s visual and sonic spectacle and do it any kind of justice.”

http://chicagoist.com/2009/10/05/lasers_smoke_and_witchcraft_with_fe.php

“Somber electronic droning greeted our ears as we entered the low light of the Metro Saturday night for the sold out Chicago appearance of Karin Dreijer Andersson of The Knife’s newest project, Fever Ray. Andersson channeled the occult, burying the audience beneath a dense fog of smoke penetrable only by the geometric beams of light slicing through the air. Mystery, intrigue and awe were the themes of the evening as we joined the rest of the audience with mouths agape, soaking in sensory overload.”

http://www.pastemagazine.com/high_gravity/2009/10/pop-montreal-report-the-mystery-of-fever-ray.html

“Song after song sounded like the climax scene of a vampire film. A couple of the bandmembers were dressed in priestly attire, adding to the gothic atmosphere. But there’s nothing wallowing about the music. It’s subtly uplifting with Dreijer enigatically singing about friendship, love and desire. The lasers danced joyfully, and the band, while concealed, was ebullient. Bright repeatitve melodies tumbled impatiently into each other.”

http://www.spinnermusic.co.uk/2009/10/02/fever-ray-raise-temperature-attract-arcade-fire-at-pop-montreal/

“Not willing to miss this possibly one and only chance, Arcade Fire’s Win Butler, Melissa Auf Der Maur and Priestess frontman Mikey Heppner were among the Montreal rock royalty spotted at Metropolis last night for the haunting, trippy solo project of Swedish electronic artist Karin Dreijer Andersson.”

http://music-mix.ew.com/2009/09/30/fever-ray-concert-live-review/

“What does a Fever Ray concert look like? Well, imagine stumbling upon a pagan sacrificial ritual in a misty forest under the blanket of night… if a laser-tag game was raging the heavens. Oh, and don’t forget a touch of Grandma’s house, maybe some antique lamps scattered around the stage. It might look something like that.”