Plunge, the long-awaited follow-up to 2009’s Fever Ray, landed in late October. The Knife’s widely-publicised, divisive curtain call has effectively raised the stakes for the forthcoming Fever Ray live show, which kicks into gear this month.Īs audacious as The Knife’s final statement was, it pales in comparison to what came next. A kind of Godspell meets Gender Trouble, bowing out in a blaze of postmodern theory and spandex. That was in 2013, when Dreijer, along with her bandmate and brother Olaf opted to bring the curtain down on their celebrated synth pop project with pre-recorded music and high concept production. In fact, the last glimpse many of us had of Dreijer was on screen, in drag, as part of The Knife’s extraordinary final tour. It’s been eight years since Dreijer hung up her druid robes for real, and few were expecting a return. The symbolism won’t be lost on longtime followers of Fever Ray, Karin Dreijer’s solo project. “She said, ‘they look like dead bodies!’” Flanked around this character is a row of polythene-sheeted objects, suspended from butchers’ hooks which, according to Dreijer, represent the old Fever Ray costumes. She’s fielding a phone call from a stiletto telephone, dressed in Japanese bondage rope and white rubber in her hand, a speculum. The short visual features an alien woman – a kind of monstrous feminine, played by Dreijer, with skin painted arsenic-white. When Karin Dreijer showed her sister a trailer for her new album, Plunge, she didn’t get it right away.
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