Today, Fever Ray unveils the video for “Shiver”, taken from “Radical Romantics” released last year via Rabid Records.

The “Shiver” video sees Fever Ray’s Karin Dreijer and creative collaborator Martin Falck continuing to expand the visual world of “Radical Romantics”, closing the chapter on their protagonist, Main, as they are sent off to the ever-shifting sands of time.

Directed by Falck and starring International Fitness and Bodybuilding Federation pro bodybuilder Irene Andersen, the video was inspired by the “Lovers of Valdaro“, the pair of 6000 year-old human skeletons in Italy that were discovered “locked in an eternal embrace”.

Dreijer and Falck elaborate: “We fantasized about what might have happened to these two skeletons. Were they so in love they had their mouths and noses too close to each other, or couldn’t stop kissing so they died of carbon monoxide poisoning? Or did a dinosaur kill them, and they died in fear holding each other? Was it a volcano, and they were protecting themselves from the lava burning their flesh? Maybe they weren’t in love at all; perhaps they were lifelong enemies facing their final struggle strangling each other? We felt there was a beautiful story there about the struggles of falling in love and the vulnerability you might feel being ‘examined’ by your love interest who wants to make sure you really are the one they can trust and form a relationship with, that will last for eternity.”

Watch Fever Ray’s “Shiver” video.

Fever Ray is Karin Elisabeth Dreijer, a Swedish singer-songwriter and record producer. Dreijer was one half of the electronic music duo the Knife, formed with Olof Dreijer, and released a debut solo album under the alias Fever Ray in January 2009. A second studio album, “Plunge”, under the same alias, was released in October 2017. “Radical Romantics” followed in 2023.

Fever Ray on tour

• Fever Ray UK & EU Live Dates
• 23 Feb – Aarhus, DK – Train*
• 24 Feb – Copenhagen, DK – VEGA* – SOLD OUT
• 26 Feb – Hamburg, DE – Kampnagel* – SOLD OUT
• 27 Feb – Amsterdam, NL – Gashouder**
• 29 Feb – Bristol, UK – Beacon**
• 1 March – Manchester, UK – Albert Hall – SOLD OUT 2 March – London, UK – Hammersmith Apollo
• 4 March – Paris, FR – L’Olympia**
• 6 March – Berlin, DE – Theater Des Westens* – SOLD OUT 7 March – Berlin, DE – Theater Des Westens*
• 10 March – Stockholm, SE – Cirkus* – SOLD OUT
• 11 March – Stockholm, SE – Cirkus*
• 13 March – Copenhagen, DK – VEGA* – NEW DATE
• 29 Aug-1 Sep – Larmer Tree Gardens, UK – End of the Road Festival

Tickets are on sale now – Support details: * – Uroish / **LSDXOXO / *** Planningtorock (DJ set)

Previous Fever Ray videos

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Hidrico Rubens) This February, 16th, Alison Lewis aka Zanias will release her newest album, “Ecdysis”. The 8-track album is following up last-years’ “Chrysalis“. The release mixes ambient, experimental electronics and EDM and will be out on vinyl, CD and download / streaming via Fleisch Records (Worldwide) and Metropolis (US).

“There were times during the making of ‘Chrysalis’, a process which coincided with the total destruction of my former life, when I was struck by how moments of extreme psychological pain are so often followed by an increased acuity for the beauty that’s all around us,” explains Alison Lewis, talking about the upcoming release.

And she adds: “(It was) a deep dive into this experience at my family home in Queensland, Australia, after a particularly difficult loss. I wanted to distil the feeling of standing in the rainforest alone at night, the vibrations of diverse and ancient life reminding me of what I’m made of, reminding me what ‘eternity’ truly means.”

Named after the final stage of emergence from a former self, “Ecdysis” offers an electronic soundscape influenced by the ethereal pioneering of Dead Can Dance, Enya and Fever Ray.

You can already check a first track on Bandcamp.

Lewis is probably known to some readers as one half of Linea Aspera, an English electronic music duo from London, formed in 2011. The band was fronted by Alison Lewis), with Ryan Ambridge on synthesizers. She also was part of Keluar with Sid Lamar of Schwefelgelb.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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(Photo by Karolina Pajak, FSF) Karin Elisabeth Dreijer is a Swedish singer-songwriter and record producer. Dreijer was one half of the electronic music duo The Knife, formed with brother Olof Dreijer.

Dreijer released a debut solo album under the alias Fever Ray in January 2009. A second studio album, “Plunge”, was released under the same alias in October 2017.

Karin Dreijer now returns as Fever Ray with the new track “What They Call Us”, written and co-produced with brother Olof Dreijer. The video was written and directed by long-time collaborator Martin Falck.

“What They Call Us” is out now on Rabid Records / [PIAS], an album is in the making.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Out in a little more than a week is the collaborative project between Nordic electropop diva Karin Park (Årabrot) and legendary electronic pioneer Lustmord. “Alter” is the pair’s first collaborative work and holds nine tracks.

You can already check out a first track “Hiraeth” right below. And for those unaware who these two excellent artists are, below we added some extra info.

About Karin Park

Karin Park made her debut in 2003 with the single “Superworldunknown”. After the release of her second album “Change Your Mind” (2006), the music developed in a new, darker and more synth-based direction. The third album, “Ashes To Gold” (2009), was produced by Fredrik Saroea, frontman of the Norwegian band Datarock.

Following this record, Karin has continued to develop a more experimental, beat-oriented sound. Karin Park is also a well known producer, who has done remixes for other bands and co-produced the latest Årabrot record “Who do you love” with her husband Kjetil Nernes, frontman in Årabrot.

Together with her brother David Park, Portsmouth based producer Barry Barnet and the Swedish producer Christoffer Berg (known for his work with The Knife, Fever Ray, Massive Attack and Little Dragon’s Yukimi Nagano), she made her fourth album, “Highwire Poetry” (2012). In 2015, she released her fifth studio album “Apocalypse Pop”.

Her new band project Pandora Drive is London based and released their first EP “Albino Heart” in 2018.

Aside from her musical career, Karin Park occasionally works as a model and an actress. She starred in the Norwegian horror film Hidden (2009) and her song “Out of the Cage” was the theme track to the film.

About Lustmord

Brian Williams is a Welsh industrial musician, sound designer and film score composer. He is often credited for creating the dark ambient genre with albums recorded under the name Lustmord.

Williams was raised in rural Wales, before relocating to London in his late teens where he befriended Throbbing Gristle members Cosey Fanni Tutti and Chris Carter, who urged him to make his own music. He started recording as Lustmord in 1980 before joining SPK in 1982.

Some of Lustmord’s most notable collaborations include Robert Rich on “Stalker”, Jarboe, John Balance of Coil, Monte Cazazza, Clock DVA, Chris & Cosey, Paul Haslinger, and Melvins on “Pigs of the Roman Empire”.

In short, an electronic music pioneer.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Bedless Bones is the sonic brainchild of Estonian female artist Kadri Sammel. There isn’t an elaborate story behind the band name. As Kadri explains ‘I wanted to have a moniker for my solo project, that would evoke a certain unease and would have a murky undertone, and also an unexpected element – sort of like my music, I guess. I basically just needed a name to upload my first experimental / ambient tracks on SoundCloud. I didn’t really expect that it would develop much further from that, but now I am stuck with this name’. The debut album “Sublime Malaise” released on Cold Transmission Music is a refreshing piece of music inspired by dark-wave, cold-wave and a few more related genres. I talked about it all with Kadri Sammel.

(Courtesy by Inferno Sound Diaries)

Q: First things first, can you give us some brief background information how you got in touch with underground/electronic music and how did you come to set up Bedless Bones?

Kadri: I have always been drawn to alternative and underground stuff, ever since I consciously started listening to music. But I only ever got around to electronic music that I actually liked sometime in the second half of my teen years. Before that I was into punk, post-punk, alternative-rock. A massive change happened, when I started to visit Beats From The Vault party series here in Tallinn, led by Anders Melts, who later became my partner and bandmate in industrial/deathbeat band Forgotten Sunrise. Anders introduced me to an array of EBM and old-school industrial bands, black-metal, and lots of other obscure & unknown underground music. I had the urge to make my own music for years before, but it was then when I felt really inspired to start my solo project.

Q: Tell us a bit more about the sources of inspiration and possible influences plus the kind of sound you try to create?

Kadri: I never follow a sound, but rather a feeling, and a context in which a sound could be placed. It doesn’t excite me to mimic (or create) a style and then make all songs in that way. I like to see where the music takes me and experiment. I’d say all my songs sound a little different, but they have a certain atmosphere. Again, I usually don’t have direct references in mind while I write music, but now and then I hear things that trigger ideas. My conscious and unconscious inspirations have been Nick Cave, early Fever Ray,  Dead Can Dance, Einstürzende Neubauten, nighttime wanderings, my own experiences, people I’ve met, films I’ve seen, art, dreams and nightmares.

Q: You last year released your debut full length “Sublime Malaise”. The title has something intriguing, but what kind of album did you want to accomplish and how do you look back at the global production process?

Kadri: This is such a funny question to me, because I literally had no clue what I was doing. I recorded the album at home and my only goal was to find a label to release it in physical format, so I could show it to my parents -here is the reason and purpose of why I was wasting so much time on this music thing. I was lucky that Cold Transmission Music allowed me to fulfill my vision and put it out just like it was. They have also done all the work with promotion and sales.

Q: I noticed you already composed a new song/single (cf. “The Pyre”), which hasn’t been featured on the album. What is this song all about and do you notice main evolutions compared to “Sublime Malaise”?

Kadri: “The Pyre” is more like a breath in between, not an indicator of where my music is going. I have been surrounded by a lot of dance music recently, because I’ve been playing more as a DJ, so creating something slow, cinematic and quiet was a nice stopover. That is why I released it separately. It was written in the beginning of the virus quarantine and lockdown, so it has a reference to these times as well.

Q: You also have something with clips. The clips are dark and even somewhat tormented, but still artistic (cf.  “Limbs Entwined”). What do you want to express throughout the clips and is there a link with the lyrical content of the songs? 

Kadri: The visuals come as a reaction to the music, but I don’t follow the lyrics strictly, if at all. With “Limbs Entwined” I always envisioned bizarre movements of the body, and I developed the idea from that. Sometimes I want to have more narration in the visuals (like my first video for “True Devotion”), and sometimes it’s very subtle. But I never want to go too far with the visual implications, because I want the viewer to have their own thoughts and ideas of what it is about -triggering others’ imagination is my main interest and excitement.

Q: I’m always wondered why there’re less women involved with electro-underground music and especially when it comes to the composition process! Do you’ve an explanation and does it mean this scene is just a man- or macho thing?

Kadri: I don’t know. I mean it’s quite hard to do everything yourself, it takes time and work, especially when your previous knowledge and skill set has been quite limited (like it was in my case). It’s much easier to join a band and be the token singer or synth player. I wouldn’t have been able to do it if there weren’t female visionaries, composers, producers & one-woman-armies before me, and they are the ones I look up to the most. I hope there are more to come.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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[By our Norwegian correspondent Jan Ronald Stange]
It’s not too often we get new and exiting electronic music from the western part of the American continent, so when the Los Angeles based electronic musician, visual artist and multi-instrumentalist WVM released his single “Sown” last week we had to check it out.

Echoing both classic synth pop masters Depeche Mode, Human League and New Order as well as the more modernized sounds of Daft Punk and The Chromatics, the Christoffer Berg (The Knife, Fever Ray, Depeche Mode) mixed single was inspired by WVM’s love of 80’s pop, while still heavily infused with his unique aural stylings.

WVM: ‘Sown’ gets a lot of its inspiration from 80’s Bowie and Peter Gabriel with a lot of early Prince…. but mostly it’s just the music I want to hear, a lot of my heart and soul went into it, which is why it really doesn’t sound like any other artist other than me.

Is there a story behind the name?
WVM: The name WVM is a wavelength, everything in this reality is made of waves from the car you drive to the skin on your bones. What I love about these waves is that they can be molded into anything. The juxtaposition of the W and the M are intentional to remind me everything has it’s opposite. The letters can stand for anything you want, but it’s just WVM.

The premiere of the song was done as an interview/review on Huffington Post.

Listen to/download “Sown” online:
iTunes / Amazon / Spotify / bandcamp

For more snippets of WVM music and other info:
WVM Official / Facebook / Twitter / Instagram / YouTube

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

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