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Over the last ten years, Olof Dreijer has gone through a journey. In 2014, he and his brother Karin ended their successful avant-pop duo, the Knife, and Dreijer found himself contemplating his artistic path. He spent his time engaged in youth work and activism, rather than releasing music under his name. This led him to question whether he would continue pursuing music professionally.
After releasing several spooky and techno-influenced singles between the years 2008 and 2010 under the alias Oni Ayhun, Dreijer took on music education for undocumented immigrants in Berlin and Stockholm. Additionally, he produced music for his friends, such as Houeida Hedfi, a talented musician from Tunisia. Dreijer explains, “I didn’t feel the need for more music from someone like myself, a white man. Instead, I wanted to support and help others bring their creative projects to life.”
However, in October 2023, an individual project was created under the name of 41-year-old Dreijer for the first time. This project was released by the renowned Leeds label Hessle Audio and consisted of three tracks called “Rosa Rugosa.” These tracks showcase Dreijer’s expertise in creating a dancefloor experience with syncopated uptempo kuduro rhythms, the sound of shakers, sirens, and sharp synths. This EP is filled with joy and there is more to come as Dreijer plans to release another 12-inch record, titled “Coral.” This record will feature three tracks with deep basslines, intricate percussion, and a meditative and ambient sound.
What was the change? He explains, “I have become more accepting of myself and don’t feel the need to use different fake names.” He also adds, “I don’t overthink things as much anymore. Previously, I felt like I had to use my music as a way to express my activism, but I now keep it separate. I am simply a musician, nothing more.”
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The Knife made sure to address issues of patriarchy and gender inequality during their rare interviews and onstage performances. Their final show was titled “Post-Colonial Gender Politics Come First, Music Comes Second.” In 2019, band member Dreijer released a joint album with American producer Mount Sims called “Souvenir,” which included songs written in 2008 that used a Swedish folk song to combat the far-right’s attempt to co-opt folk culture as a symbol of nationalism. Dreijer described the album as a packed project with various elements.
Although his current music may not be as explicit in its message, it still holds political significance. Dreijer explains that it embraces the idea of using music as a means to empower ourselves and overcome obstacles. Despite Sweden’s current right-wing government, which includes a far-right party in power, the overall atmosphere seems apathetic according to Dreijer, who raises an eyebrow behind his glasses. He notes that there has been a decrease in demonstrations since the last election when the fascist party gained control. Dreijer finds this to be a bizarre situation, as he recalls much more activism in his upbringing. He mentions attending Palestine demonstrations on Saturdays but otherwise, there is not much compared to what he is used to.
Dreijer grew up in a family that was politically active and held left-leaning beliefs. As a teenager, he began his musical journey by playing saxophone alongside his father in a communist band in Gothenburg. He recalls playing various styles of jazz and how that mindset of creative freedom and willingness to step beyond traditional boundaries has influenced his approach to songwriting.
After teaching kindergarten for a short period and pursuing interests as a DJ and beatmaker, Dreijer dedicated their time fully to their work with Karin as the Knife by the late 90s. The group released four albums, with Shaking the Habitual in 2013 being the peak of their politically charged themes such as gender privilege, extreme wealth, and the effects of fracking on the environment. The group disbanded the following year, with Karin stating in an interview that their obligation was always to have fun and not to continue. In the past decade, Karin has mainly focused on their solo project as Fever Ray, showcasing theatrical synth-pop with impressive vocal skills in three albums.
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Currently, Dreijer and Karin share a studio in Stockholm where they see each other frequently due to an adjoining wall. Dreijer expresses gratitude for their long-standing relationship, stating that it has given them the opportunity to pursue individual projects outside of their main band, the Knife. This has allowed them to continue working well together. Dreijer has worked as a co-producer on multiple tracks for Karin’s recent album as Fever Ray, titled Radical Romantics, and has plans for more solo releases in 2024. These include a collaborative EP with Fever Ray percussionist, Diva Cruz, as well as a debut solo album.
Reworded: It appears that Dreijer has fully embraced his name and is now expressing himself even more through his exuberant tracks. He explains, “I am finally letting myself enjoy the music and that is all I need. It has been a long road, but it was necessary.”
Source: theguardian.com
