Fever Ray has been an intriguing songwriter and music creator. I remember buying The Knife’s album “Silent Shout,” back when cds were still readily available. Upon first listen, I was hooked. The vocal pitches were distorted or shifted, and the beats felt “wet” and “old.” It’s almost as if I were listening to some ancient alien, aboriginal music. That sound and environment has continued throughout their work as part of the duo The Knife, and as a solo artist, Fever Ray.

The album “Radical Romantics” is Karin Dreijer’s (Fever Ray) third solo album. They worked with their brother, Olof, on many tracks. Trent Reznor and Atticus Ross were even credited on a couple. After a weekend and the following we of repeated listens, I can verify “Radical Romantics” is just as bizarrely fascinating as any of their previous work. I will also be referencing an interview by Dazed Digital’s Jake Hall in my post. It is a superb write up, and gives incredible insight into the songs and videos. You can read it here.

Track 1 – “What They Call Us”

The opening opening track is an introduction to Fever Ray’s creation. A solid representation of the world they bring the listener in to experience with their self expression. The music is definitely electronic and aggressive. Their voice is lowered in pitch quite a lot, and gives the song strong sense of intimidation. The song opens with an apology.

“First I’d like to say that I’m sorry. I’ve done all the tricks that I can.”

“What They Call Us” – Track 1

These two lines resonate a lot with me, and even more after reading the interview with Karin from Dazed Digital. They were recently diagnosed with ADHD, and they also identify as a queer person. In less than 4 years, I divorced the person I was in a relationship with for 10 years, started accepting my sexual identity, was diagnosed with ADHD, started and stopped therapy, started therapy again, met and married my current husband, became a parent, and finished a ridiculously difficult vocational program in computer science/machine learning. I’ve learned that I apologize entirely too much. I also have lived life in a very performative manner. When you are brought up in a world that feels very foreign, even more so every day, you start to learn how to make everybody else around you more comfortable. You stop expressing how you feel, how you interpret your experiences, you stop acknowledging your reality in a sense. I learned many “tricks” in order to present as benign as possible.

“Did you hear what they call us? Did you hear what they said? I’ve got at plan that is flexible. Just don’t stop anywhere.”

“What They Call Us”

The chorus carries so much tension in how the lyrics are delivered. My “inner saboteur” likes to blast a similar message when I’m feeling particularly vulnerable or threatened. Be constantly alert and aware. Know what others are saying and thinking. Always be able to adapt, and don’t get too comfortable.

“It’s a common misperception. This is not a band.”

“What They Call Us”

This is probably my favorite two lines of the song. I think it’s hilarious, but also very factual. Karin’s pronouns are they/them. I get the feeling people are using the preferred pronouns thinking Fever Ray is a band instead of an individual. Irony is not humor that can be conveyed easily.

Track 2 – “Shiver”

I get the impression this song is about intimacy, touch, desire, love, sex, etc.. The lyrics are simple, but again resonate a lot with how I view and experience life. Musically, this song reminds me of “When I Grow Up” from the first Fever Ray album. Their voice is presented without the pitch alterations in the main vocal track. The big “In The Air Tonight” drum sequences are at the forefront, and are accompanied by a percussive driver throughout the song’s duration, similar to a train moving along a railroad. During the refrain, you can hear what I will articulate as “electronic Chinese opera” styled phrasing and instrumentation. It’s a familiar aspect listeners of The Knife and Fever Ray have come to expect from their work.

“I just wanna be touched. I just wanna shiver. Can I trust you?”

“Shiver”

What I’ve noticed as I’m beginning to understand how my mind and body works, is the fact that I need to be touched. I also need to initiate touch. The sensation of touch is very communicative with me. The message a person conveys to me via touch is felt very clearly. Did it feel aggressive? Did they want to give me a message on their physical strength? Did they even want to touch me? Are they uncomfortable? Do I want another hug/hand shake/back pat by this person, ever again? Do I feel at ease? On the first date with my husband, he put his hand on my lower back as we walked into the restaurant. That communication was so comforting, attractive, arousing, and affirmative. I was able to easily put myself in a mental space where I could be vulnerable, and in turn allowed us to learn about each other, and build trust.

Track 3 – “New Utensils”

From a pure listening experience, this is my favorite song from the entire album. Hearing the chord progression during the chorus, combined with the dirty, fuzzy bass line, would make most people want to move their body. The staccato notes played between the verses and chorus, is another signature quality of Karin and Olof. It puts the listener in an environment having qualities of urgency and anxiety, but with the joy and freedom of dance.

“Maybe I come home Monday, whatever works. Lips, fists, a mouthful of words.”

“New Utensils”

I don’t have a defined explanation on what resonates most with me in the lyrics for “New Utensils”, and that may be why I enjoy it so much. From reading the interview at Dazed Digital, the writer makes a connection between the album, and how it doesn’t fit the current “rainbow capitalism” prevalence around the globe. I think this song gives a nudge to that topic. There is a sense of being proud to be queer, even when your queerness doesn’t sell, or fit in a nice, well digestible package (bwahaha! I shan’t self censor.). The blasé attitude in their delivery of the message about how epic queer individuals are is perfection. Queer culture has been at the forefront of creating art, and cultivating a culture since the dawn of everything. They have to dance in two different worlds, and conform in a third to survive. Queers can be sensual, feminine, masculine, and articulate all in one. And they’ll get all that shit done on a Monday, too. It will be done right. Probably in a single take. Finished.

Track 4 – “Kandy”

This song and video has so much to discuss, but I will try to be more succinct than I have been so far. I’m only on track 4/10. Sheesh. Anyway, I’ll tackle the video first. I love it so damn much. It has the office worker, and the “Cousin It” with red eyes characters from the video of “What They Call Us.” The office worker is watching a performer in a pink suit, and the dance moves are obviously masculine and primate influenced. I very important noteworthy topic to mention is Karin’s brother Olof is also on stage playing a flute-like instrument. The camera pans to his tight pants and fantastic booty frequently. Fever Ray is performing both the role of the office worker and the pink suited performer.

The song is very reminiscent of earlier The Knife, and a nod to the video “Pass This On.” The melody is bright, and tinny. Steel drums come to mind, but fed through a digital filter. The vocals are presented with a lower pitch. I can understand why though when taking the music video, and lyrics into consideration. The level of continuity achieved through video, audio, and text is genius.

“She laid me down and whispered – all girls want Kandy. Can you bring me back?”

“Kandy”

I think this song is another direct challenge to conventional definitions of love. I’m not sure “Kandy” is a person or literally the sweet, “candy.” Either way, I think it represents how in a relationship there will always be desire for something else, or something “sweet.” The first verse gives the impression that either the “fire died” or sex was no longer interesting for the “she” in the story. She tried to explain this to the narrator of the song, and they are trying to rekindle relationship. In fact, the first verse mentions trusting each other, and getting a third for the night.

“Simply wood and fire. Lovlier than diamonds.”

“Kandy”

This is where the lyrics tie into the video and the dancing of the pink suit performer. In the verses and outro, the phrase above is repeated. It’s a reference to how wood and fire are the most basic human needs – warmth and shelter. By mentioning how wood and fire are more lovely than diamonds, it’s reiterating the importance of those basic needs and how without those needs being met, diamonds don’t mean much. The pink suit performer’s dance moves are also very primal, even sexual. This ties into the primal aspect of desire, basic human necessity, and relationships. Relationships and love within the LGBTQ+ do not follow heteronormative formulas.

Thanks for reading! Part 2 will be published soon.

Zo