Karin Dreijer Andersson got with her new Fever Ray project this year a worldwide huge interest. Accordingly the expectations to a live show were big. The only concert of this world-tour in Germany, in the K6 in Hamburg, was completely outsold. Shortly after 9 the lights switched off and illuminated by only two blue stage spots Hildur Guðnadóttir from Reykjavik – clothed in a snow-white fantasy dress – started solo with her cello, in duo with her laptop deeply immersed in herself an impressive prelude.
The playback and sequences on laptop replaced the missing musicians so that all concentration of the audience was focused on Hildur. But such a massive playback is a questionable method to win autonomy, because the polyphonic backing panorama developed from the conserve its mighty sounds cape, not from live playing. Musically Hildur walked on experimental fields, which melded together with emotionality and invoked the amazing and strong richness of the cello.
Her last accords half an hour later led over into the electronic vibrancies which heralded the appearance of Fever Ray. Small bushes of joss sticks got enkindled; thick fog blew into the hall. Nearly not to see inside of the clouds five musicians, buried by the fog and hidden under masks, too. Unrecognizable hooded Karin herself stood in an archaic costume like a shamanic high priestess central but in the background of the stage. Nearly without to move and with a lot of distance to the audience she celebrated her show. On the stage a lot of glowing lamps with yellow lampshades like hallucinating flibbertigibbets created a strange contrast to the cold laser projections which flashed through the fog.
The clear sound mightily swelled on, and abyssal deep basses made the building vibrate and let the worried staff check the rattling wall cladding. The introverted and poetic charm of the music as known from the album became here to an optical and acoustical "Gesamtkunstwerk"; but the morbid, vulnerable mood of the great music videos didn’t found a place inside of this electronic spectacle. The personal presence of the musicians was nearly not present and totally swallowed by the huge technical electro-creation; the emotional vibrations became to phantasmal spectres hidden by walls of white haze and laser-beams.