#karin dreijer andersson

[toad-eater]

Fever Ray / North

[rockclassics]

Fever Ray by Nina Andersson

[spilladabalia]

Fever Ray/Karin Dreijer

[crowfootwrites]

CAIN'T NOBODY TELL ME BRAD DOURIF AIN'T FINE AS HELL. This one's for all the Brad Dourif/Lon Suder girlies.

Kinktober Masterlist

Taglist: @horta-in-charge

Day 10: Knife Play - Lon Suder x Fem!Reader

Warnings: HERE BE SMUT, SO NO MINORS; knife play; a little bit o' blood; a little uncertainty (but reader is still into it); sleeping with a guy who later turns out to be a murderer | Words: ~435 | Song: If I Had A Heart - Karin Dreijer Andersson, Fever Ray

You found it surprisingly disarming, the way the tip of Lon’s very sharp knife tickled the soft skin of your breast. Goosebumps rose along the knife’s path before spreading, your hair standing on end. Lon’s mouth trailed a parallel line down your other breast, the warmth of his breath and soft lips making your back arch. The inky pools of his Betazoid eyes flickered from the glinting blade up to your face, his lips parted just slightly, looking almost reverent. 

Lon was something of an odd bird - you’d thought so ever since he’d been assigned to engineering when the Maquis joined the crew of Voyager. But even then, there’d been something about him that you liked. He could be charming, in his own awkward way, and he had an intensity about him that you admired. And for the last half hour or so, you’d been learning what it felt like to be on the receiving end of that intensity. It felt incredible.

The edge of the knife grazed over your sternum, setting you on edge, your heart caught in your throat. Lon’s empty palm took up residence on your side as he drew the knife downward, veering toward your hip bone. The silence in the room around you seemed so loud, the darkness so exposing as Lon made your body his. 

He rose to his feet to reposition himself and drag his knife across to your other hip, increasing his pressure just slightly, giving you a view of just how arousing he found all this. And the idea that your willingness gave him pleasure turned you on more than anything else.

Lon’s free hand caressed your cheek, his dark eyes catching your every movement, no matter how minute. 

“Ready?” he asked, his face an impassive mask.

“Ready,” you replied, your voice cracking slightly.

A flicker of doubt crossed your mind, but you chased it away almost as soon it arrived, knowing Lon would sense it. Your heart pounded in your chest and a roll of heat spread between your legs, as though your arousal fed on the few crumbs of apprehension you fed it. You focused on what you knew to be true: Lon had been an excellent lover thus far, and if this turned him on as much as you thought, you’d be in for a long night.

Your eyes followed his as he gazed back down at the knife tip now resting just below your sternum. With the smallest flick of his wrist, the tip pricked you and a drop of blood welled up where steel met skin.

A long night indeed.

[zaius-theforbiddenzone]

Fever Ray – Radical Romantics [2023]

Fever Ray – Radical Romantics "----Shiver----" Lyrics By – Karin Dreijer Music By, Producer, Performer – Karin Dreijer, Olof Dreijer Producer [Vocal Production] – Johannes Berglund

Fever Ray Real Name: Karin Elisabeth Dreijer Andersson

Label: Rabid Records Experimental, Alt-Pop, Synth-pop

[ ♬ Music for your mind… ]

[popmusicu]

A Sonic Revolution Against Late Capitalism: How to Shake the Habitual

The Knife's 2013 album "Shaking the Habitual" is a radical work that stretches beyond the bounds of common electronic music in its deep and complicated critique of late capitalism. This is the fourth full-length from the Swedish sibling duo of Karin Dreijer Andersson and Olof Dreijer, which comes seven years after "Silent Shout" cemented their reputation as bold electronic stylists. With "Shaking the Habitual," the Knife makes its full-on declaration as digital intellectuals, positioning themselves as Radiohead's not-so-distant Swedish cousins or maybe as 21st-century riot grrrls rewiring Aphex Twin with Björk. The title is clearly a nod to Michel Foucault because it shows how the two would like to question and destabilize established power structures and social norms. This intention is not only in music; it's also within the whole release and promotion process for the album, which was made a kind of artistic performance itself. The Knife has been quite courageous throughout their career, deliberately going more underground since their 2003 single "Heartbeats"—fearless to lose their audience in the process. "Shaking the Habitual" arcs as a piece balancing mind and body with a view infused by gender theory, the fall of the euro, and globally resourced Berlin club music. The dualism being innate in such a fashion is where one approaches the critique against late capitalism, so often separating intellectual from bodily elements. The writing process for this album truly started with a period of intensive reading in the feminist and queer theory canon—one which Olof Dreijer took at Stockholm University in the Department of Gender Studies. This philosophy is radically reflected in the musical approach of the album. The Knife creates a quite disorienting and, at times, uncomfy soundscape with this album by nearly abandoning conventional verse-chorus structures and stepping away from easily recognizable melodies. Clocking in at 97 minutes, it is a willful test on listener expectations and music industry conventions. The sonic colors of "Shaking the Habitual" are way more extended than what the siblings had used before in their previous works. The duo incorporates a slate of sounds and techniques that range from found sound drones to homemade instruments fashioned from everyday objects. As they explained in one interview, they were after a kind of sonic alchemy: "finding sounds where the bedspring sounds like a voice or a voice sounds like a bedspring." Sonic experimentation becomes a means of challenging codified categories and expectations of what constitutes music. Most conventionally structured albums aren't like this: six of the 13 tracks stretch out or near nine minutes. The centerpiece, "Old Dreams Waiting to Be Realized," just about reaches 19-minute concrete music which, placed right in the middle of the album, seriously subverts its energy and challenges the listener for a deeper, more reflective listen. It's typical of the kind of structural experimentation that crops up throughout the album: "A Cherry on Top" begins with 30 seconds of scraping noises, then moves into a lengthy passage of ghostly ambience, before giving way to the sound of a zither being strummed and tuned, and Dreijer-Andersson finally appears, singing four lines of elliptical lyrics in a tortured voice. The lyrics of this album talk about gender, sexuality, environment, and economic inequality. For instance, in "Full of Fire," Karin Dreijer sings, "Liberals giving me a nerve itch," while in other places, she surprisingly mentions very ordinary things, like the euro exchange rate. This kind of juxtaposition of the political with the everyday alludes to the omnipresence of power structures within life. It's an album that careers wildly from moments of intense, almost sloppy physical excitement, to passages of dry, conceptual aridity. "I feel the urge for penetration," declares "Wrap Your Arms Around Me" with characteristic Scandinavian frankness. This is apparent in their decision to collaborate with other artists and theorists in the making of the album. They worked with writer Jess Arndt for the introductory text and with the feminist filmmakers Roxy Farhat, Kakan Hermansson, and Marit Östberg for the music videos. Their willingness to collaborate is resistance enough to counter the order of late capitalism, insistent on individualism. This is also where the inbuilt critique of The Knife really comes through in the visual and performative element. Whereas previously they had done this through masks and costumes, this time it was via the "empowering anonymity of the crowd," possibly influenced by things like Occupy. It's a desire to question ideas of celebrity and individual identity intrinsic to a capitalist music industry. Musically, "Shaking the Habitual" is a giant progression in sound for The Knife. Its melodies are at times percussive; in "Networking," for example, with its sound of bones being scraped on a floor really fast. The tone set by the opening songs, "A Tooth for an Eye" and "Full of Fire", is of threat and euphoria, carried right through the album. From Fugazi to Salt-N-Pepa, there's a splicing of influences and intellectual references—quotations, in a way— alongside allusions to Jeanette Winterson and Margaret Atwood. Even in its demanding difficulty, "Shaking the Habitual" clings to some instinctual gut feeling. It's filled with textures that resonate inside the body, a work both intellectually stimulating and viscerally fleshly. This kind of combination of critical cognition with physical expression is maybe, resistibly, the most compelling way this record has to make its critique of late capitalism, marked essentially by alienation and disconnection between mind and body. There are dangers in this radical approach, though. At times, this record can feel arid and joyless; it might unsettle even the most dedicated listeners. What's more, both the length of the record in its entirety and, in places, the lengthening of some individual tracks undermine the intensity of that music. Still, thanks in part to Dreijer Andersson's solo job as Fever Ray, The Knife is in the privileged position of occupying a hungry and patient audience. In a moment when rock and pop have lost their leading, central status in popular culture, "Shaking the Habitual" hits with a demand on the concentration of the listener. Nowadays, music doesn't dictate what people wear, think, or do; more so, it's there to provide a friendly, painless background noise. Against this backdrop, the ambition and complexity that bleed from this album by The Knife are even more amazing. Ambitious and complex, the album translates Foucault's ideas and critique of late capitalism into a total sonic, visual, and performative experience. Challenging aesthetics, provocative lyrics, and conceptual approach—not to mention the process of creation and promotion—problematising what we take for granted, The Knife invites us to "shake the habitual" in the perception of music, society, and ourselves. It is an artist manifesto, a program for a world that is more just, more equal, stranger—as it fights against the existing powers and structures and puts forward ways of thinking, feeling, and creating in late capitalism. In so doing, The Knife creates music but an arena for resistance and common re-creation: one in which the condition of not knowing is transfigured into a force of liberation. "Shaking the Habitual" veers wildly from utterly gripping to unbearably boring, incredibly bold to strangely flaccid, viscerally thrilling to hopelessly overthought. This is a massive testament not only to The Knife's artistic bravery—not afraid to risk finally alienating their audience in their desire to challenge conventions—but also to how messy and anarchic that artistic bravery can be in its execution. When one immerses oneself fully into its world, though, "Shaking the Habitual" becomes a work that offers a transcendental experience, shaking habituality into our relationship with music and society, as much as with our own bodies.

By: Vicente Lobos Raiteri

[suzybannion]

Malin, do you like Fever Ray (Karin Elisabeth Dreijer Andersson)?

Meh

[hauntedchaos]

[girlysounds]

The Knife - We Share Our Mother’s Health

[welcometoobangkok]

Björk and Fever Ray at BackStage in Primavera Sound. Parc del Fòrum, Barcelona, Spain. May 31, 2018.

https://youtu.be/3m-RsHaahdk

Björk and Fever Ray en BackStage en Primavera Sound. Parc del Fòrum, Barcelona, España. 31 de Mayo, 2018.

[toad-eater]

Fever Ray / Shiver

[falsestuff]

Fever Ray - Red Trails (2017)

[knightofleo]

 Fever Ray - Plunge (2017)

[pop-squared]

Happy Plunge Day! The 21st century Godmother of experimental pop is lifting the curtain once again on the unique sonic world she began constructing with the The Knife’s 2001 Self-Titled. This blog lives there and its very happy 

[jeffpdf]

🔪

[jasonzsongs]

Fever Ray - Red Trails