Fever Ray (album)

Professional ratings

Aggregate scores
Source	Rating
AnyDecentMusic?	7.8/10[2]
Metacritic	81/100[3]
Review scores
Source	Rating
AllMusic	[4]
The A.V. Club	A−[5]
The Guardian	[6]
The Independent	[7]
MSN Music (Consumer Guide)	A−[8]
NME	8/10[9]
The Observer	[10]
Pitchfork	8.1/10[11]
Q	[12]
Spin	7/10[13]

Fever Ray was lauded by music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 81, based on 27 reviews, which indicates "universal acclaim".[3] Graeme Thomson of The Observer described the album as "an astonishingly stark record" that is "[b]uilt on the barest of electronic bones and brought to life through Andersson's almost primal vocals, the songs search for a spiritual pulse amid soulless modernity."[10] Ian Mathers of PopMatters stated the album is "not only as good as Silent Shout but [it's also] clearly akin to the sound she and her brother Olof perfected on that record", concluding, "Nothing that Fever Ray does is as immediate or soaring as a track like 'Marble House' but Fever Ray makes up for the lack of highs by being an even more all-enveloping experience than the last few Knife records."[14] Similarly, John Doran of the NME commented that Fever Ray "has none of the immediacy of albums such as The Knife's Silent Shout, with its playful eclecticism and heavier, dancefloor-leaning beats. Most importantly, it doesn't have a killer hit single in the style of 'Heartbeats'", adding that in order to "fully appreciate this beautiful and understated gem, [...] it's important to relinquish all desires for another 'Heartbeats' and enter fully into the world of Fever Ray." Doran also called the album "magnetic and rewarding" and compared it to the likes of Kate Bush, Underworld and Yellow Magic Orchestra.[9]

Pitchfork's argued that, in contrast to The Knife's "plasticky percussions and goofy synth sounds", Fever Ray "brims with fragile, more finely articulated sounds" and "moves at roughly the same pace and with the same general tone, rendering some of the songs indistinguishable at first, but committed listens will reveal this to be as nuanced and as rich of a production as anything either Dreijer has done."[11] The A.V. Club's Chris Martins viewed it as being "countless times more claustrophobic and creepy than Silent Shout" and stated that "[t]he vocal transformer is such a huge part of what Andersson does—androgynizing her words to accompany the cold music, mimicking the synth warbles and sustained tones that abound."[5] The Independent critic Rupert Howe expressed, "Even beyond the gothic imagery and glacial electronics, this mesmeric solo project shares much with The Knife's last album Silent Shout", including "surreal lyrics" and "weird vocal treatments which pitch Andersson's voice down to a baleful masculine groan".[7] Jonathan Keefe of Slant Magazine found that the album is "built upon contrasts. Most notably, Andersson's Fever Ray persona draws attention to her work as half of the Knife [...] Whereas the Knife is ostensibly a dance act, Fever Ray emphasizes tone over rhythm."[15] In a review rated 7.5 out of 10, xlr8r wrote that it "retains real emotional heft" and compared it to the likes of Madonna, Siouxsie and the Banshees and PJ Harvey.[16]

Alexander Tudor wrote for Drowned in Sound that "minimal beats on each track prove to have been constructed with incredible attention to detail, as are the smooth synth washes, and electronic simulacra of birdcall or animal noises. The tempo may be nightmarishly unvaried, track after track, but it's composed of glitches [and] bouncing balls", citing "Keep the Streets Empty for Me" as the album's best track.[17] In a review for AllMusic, Heather Phares opined that "Fever Ray's mix of confessional lyrics and chilly, blatantly synthetic and often harsh sounds make this album as successful an electronic singer/songwriter album as Björk's Homogenic." Phares continued, "With almost tangible textures and a striking mood of isolation and singularity, Fever Ray is a truly strange but riveting album."[4] Alexis Petridis of The Guardian felt that the album's "dolorous chords and stately rhythms recall the Cure, circa Faith, the glacial pace makes you think of the Blue Nile", noting that, "as unlikely a step as Fever Ray may seem for one of electronic music's most enigmatic figures, the results are triumphant."[6] BBC Music's Chris Jones called the album "bloody marvellous", while observing "a vague sense of holding pattern here rather than massive innovation. Without brother Olof as a guiding hand on the droning sequencers the tunes fall a bit by the wayside", but wrote that "this very tiny drawback doesn't stop Fever Ray from being the kind of brilliant album that it may not make sense to play if you're prone to nightmares."[18]

All lyrics are written by Fever Ray, except where noted.

Credits for adapted the liner notes of Fever Ray.[36]

As of October 2009 it has sold 23,000 copies in United States according to Nielsen SoundScan.[49]