“I have always been in relationships, and I understand now that it’s really good to be by yourself for some time,” she mentioned. “It’s not a scary thing.”
It’s additionally a party of newly embraced sexual explorations. She could also be based totally close to Stockholm, the place her two teenage daughters cross to university, however Ms. Dreijer has been spending so much of time in Berlin. “And Berlin is a great city of queer happenings,” she mentioned.
On the album’s lead unmarried, “To the Moon and Back,” Ms. Dreijer is particular about her need for girls, whilst the video gleefully embraces kink: She performs a baldheaded creature, awoken from a cryogenic shut eye to search out herself in a neighborhood of fantastical, fetish-gear-wearing ladies who use her as a desk then urinate on her face. To her pride.
“I wanted it to be very joyful and collective and sisterly. A very important thing was not to show sexuality as something dark and difficult,” Ms. Dreijer mentioned. Does it nonetheless really feel radical to be a girl making a song about sexual need in some way that’s each loose and particular? “I think it’s super radical, actually,” she mentioned. “It’s very sad that it is that way.”
She later defined that she was once expressly now not seeking to please a hetersexual cis guy. “I know what I’m doing is not a mainstream thing,” she mentioned, sooner than an extended pause. “That’s great.”
The new, brighter visible aesthetic was once evolved along with her longtime collaborator and fellow Swede Martin Falck, who sees the document as a mirrored image of what he referred to as his pal’s “transformation.” “It’s about finding your fun, and embracing it,” he mentioned.
For all her newfound openness on document, Ms. Dreijer guards her privateness fiercely. She wore a wide range of mask onstage as each Fever Ray and the Knife, and she or he won't do TV or awards ceremonies. “Before I worried — it was very important to keep my private self apart from the job,” she mentioned. “But I think I have found a way to have these things separately.”
Instead of mask, for “Plunge” Ms. Dreijer and Mr. Falck have created a sequence of characters. There’s the bald-heading being, but in addition a monster, which Ms. Dreijer defined represents “a toxic partner, or something that it’s hard to quit.” These guises permit her to externalize conflicted components of her personal identification, however additionally they be offering an inventive framework for her self-revelations.
Ms. Dreijer mentioned she has all the time labored, the place imaginable, with ladies or non-binary folks. For this album, the checklist incorporated the manufacturers Paula Temple, Deena Abdelwahed and Nídia. In a phone interview, Ms. Temple, a British techno manufacturer based totally in Berlin, mentioned Ms. Dreijer sought after the recording procedure to be “nonhierarchical.”
“You don’t feel like you’re working with a superstar,” she mentioned. “She has a vision, but it always feels deeply experimental too.”
On “Plunge,” the imaginative and prescient concerned songwriting as an try to make sense of viscerally intense feelings. Ms. Dreijer described falling out and in of love (and lust) as “very physical feelings.” She added, “Your heart explodes and falls out of your body and you think you’re going to die,” sooner than giggling at her personal histrionics.
“I like to try things. I don’t want this old story of love that I have been told,” she mentioned. “I want something else.”