Fever Ray is the debut solo studio album by Fever Ray, an alias of Karin Dreijer of Swedish electronic music duo the Knife. It was released on 12 January 2009 by Rabid Records. The album spawned four singles: "If I Had a Heart", "When I Grow Up", "Triangle Walks" and "Seven". Critical reception 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". 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 [Dreijer]'s almost primal vocals, the songs search for a spiritual pulse amid soulless modernity." Ian Mathers of PopMatters stated the album is "not only as good as Silent Shout but [it's also] clearly akin to the sound [they] and [their] 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." 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. Pitchforks 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." The A.V. Clubs 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 [Dreijer]