T
Over the last ten years, Olof Dreijer has experienced a transformative period. In 2014, he and his sister Karin ended their popular avant-pop duo, the Knife, and Dreijer questioned his artistic direction. During this time, he focused on youth work and activism, and the music he released was not under his own name. There was uncertainty about his future in the music industry.
After releasing several haunting solo tracks with a techno influence as Oni Ayhun from 2008 to 2010, Dreijer shifted his focus to teaching music to undocumented migrants in Berlin and Stockholm. Additionally, he produced music for fellow artist Houeida Hedfi from Tunisia. He explains, “I didn’t think the world needed more music from someone like me, a white man. I wanted to use my platform to support and empower other artists to realize their own projects.”
However, it wasn’t until October 2023 when a solo project by 41-year-old Dreijer was released under their own name for the first time. The EP, titled Rosa Rugosa, was released on Hessle Audio, a popular label in Leeds known for its taste in music. Consisting of three tracks, Rosa Rugosa showcases Dreijer’s expertise in creating dancefloor-friendly music. With a mixture of uptempo kuduro rhythms, the sounds of shakers, sirens, and staccato synths, these compositions exude pure joy. And there’s more to look forward to – Dreijer has announced another 12-inch record, Coral, which features three tracks of bass-heavy beats, intricate percussion, and tranquil ambient elements.
What was the reason for changing? According to him, he eventually became more accepting of his identity and no longer felt the need to use different names. He also stopped overthinking and trying to make all of his music political, instead choosing to keep it separate. He is now simply someone who creates music and nothing more.
Indeed, the Knife ensured that the rare interviews they gave touched on topics concerning the patriarchy and gender disparity, while onstage they were equally vocal, labelling their final show Post-Colonial Gender Politics Come First, Music Comes Second. Even last year, Dreijer released a collaborative album with American producer Mount Sims, Souvenir, featuring material written in 2008 that repurposed a Swedish folk song to counter the Swedish far-right political movement’s aim of making folk culture a nationalist symbol. “There were hundreds of things we wanted to fit into that project,” he laughs.
Despite the less explicitly stated intentions in his current music, it remains highly political. According to Dreijer, it celebrates the power of music to help us overcome challenges and suggests that may be enough. Despite the presence of a right-wing bloc, including the far-right party Sweden Democrats, in the current government of Sweden, Dreijer notes a sense of apathy among the people. He lifts his eyebrows behind his glasses and states, “Since the last election when the fascist party took office, there has been a noticeable decrease in demonstrations here. It’s a strange situation. I still attend the Saturday Palestine demonstration, but it pales in comparison to the level of activity I experienced growing up.”
Dreijer was brought up in a politically active left-leaning household and his musical journey began as a young adult when he joined his father’s communist band in Gothenburg, where they played various genres of jazz. He credits the jazz mindset for his unconventional and daring approach towards songwriting.
After a brief period of teaching kindergarten and pursuing hobbies as a DJ and beatmaker, Dreijer transitioned to full-time work with Karin as the Knife by the late 90s. The duo released four albums, with their most recent, 2013’s Shaking the Habitual, delving into topics such as gender privilege, extreme wealth, and the environmental impact of fracking. This album represents the peak of their politically charged output. The group disbanded the next year, with Karin stating in their final interview that they have no obligation to continue and that their main goal was to always have fun. In the decade since, Karin has primarily focused on their solo project Fever Ray, showcasing theatrical synth-pop with impressive vocal range across three albums.
Ignore the newsletter advertisement.
after newsletter promotion
Today, Dreijer and Karin, who share an adjoining wall in their Stockholm studios, frequently see each other. Dreijer explains that their enduring relationship has allowed them the liberty to pursue different projects, rather than being solely focused on The Knife. This dynamic has allowed them to continue working together effectively. Dreijer has also co-produced multiple songs on Karin’s most recent album, Fever Ray’s Radical Romantics, released in 2023. He also has plans for multiple solo releases in 2024, including a collaborative EP with Fever Ray band member Diva Cruz, who is a Colombian percussionist, and a debut LP.
Currently, it appears that Dreijer has fully accepted his name and is using his energetic tracks as a way to express himself. He states, “I am giving myself permission to enjoy the music and that’s all that matters.” He also acknowledges that it has been a challenging journey, but it was necessary in order to reach this point.
Source: theguardian.com
