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Blonde Swedish singer Karin Dreyer Andersson could become the leader of a new generation of electro: her band The Knife played this music sharper and sexier others, and even in Russia managed to become the subject of a solid cult.

The Knife have gone into indefinite leave and Karin now - itself an ensemble Fever Ray.

Equipment remains the same (buzz synths trepyhaniya keys, rare bite on the strings), but the site of the former playful tempo - fainting static, ink-dark, bitter cold.

Hindered and frostbitten disco in general recently made a lot, but the Fever Ray - it seems to have a temperature record: the local acoustic landscapes reminiscent except arctic desert terror that reigns in the novel by Dan Simmons, "Terror", while she stands Andersson, respectively, in the role of the chthonic witch of the tribe of God's chosen Eskimos.

There is significant not only to shadow the sound, but also the voice Andersson, with his strange accent - she clings to the canine English phonemes, bite each word as a piece of ice. The album was recorded based on the second pregnancy, Karin sings for itself, as well as the male voice (vocal by lowering the filter to the raucous howl) and for the child in the darkness of her womb.

In general, «Fever Ray» - this is probably about unexpectedly measuring everyday things. This is sort of a musical analogue of the film "Let me" - the same accuracy in detail, the same phantom atmosphere, the same beauty of children's fears.

When the «When I Grow Up» Andersson, refers to someone with a replica: "You have cucumbers on the eyes" - it seems that she is talking about something far more terrible than the domestic cosmetics. When she says: "When I grow up I want to become a gamekeeper" - it seems that she is aiming straight for the twin-piksovsky otherworldly forest. Owls are not what they seem, - and of cucumber, probably, too.

Outcome: Musically, the Fever Ray is a somber work: viscous and cold sounding stingy on the melody, it seems aimed at the subconscious listener and rhythmic skeletons of the songs suggest something ritualistic, almost mystical. Actually, the solo work Karin is a new milestone in the evolution of this kind of music - uncomfortable, chilly, but the attraction: even when looking into the most dark and deep well has a chance to see your own reflection.

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