IMP INK – Imp Ink (Piglet, 1980)

Instrumental

International relevance: **

Probably the most interesting album on Uppsala's elusive Piglet label, and also the first LP on the imprint. Imp Ink (sometimes stylized as Imp.Ink and Impink) straddles the line between kraut rock, free jazz, avantgarde, progg, folk, and dark dreamy soundscapes. Members aren't mentioned on the sleeve, but the line-up is known to include Roland Zinder and Jonas Palm. It's a wild ride, sometimes scary and even the quieter moments have an arresting intensity. At times they're moving towards a Träd, Gräs & Stenar and Third Ear Band territory, but with a greater outcome, more dramatic and a lot more captivating results. Occassionally, it even hints at Italian 70s horror movie soundtracks. The underground vibe is palpable and adds meritoriously to the general mystical, sinister feel of the music.

While the different segments have individual titles, but not being song based, the album should be listened to in one go for optimal effect.

Being one of the better yet unheralded obscurities of the progg era, this is definitely an album to seek out. Especially if you're into the darker side of improvisation. Keep in mind though that it's very rare and therefore a bit on the pricey side. Given the small editions of other Piglet releases, I assume it's a pretty fair guesstimate that no more than 500 copies were pressed, if that. It exists with three cover variations, although I think they were all released simultaneously. It's highly unlikely there was any demand for a second pressing at the time... Today though, it screams out for a reissue.

Side A

Side B

FRIZ BE – Hmm... (Piglet, 1981)

English vocals, instrumental

International relevance: **

Certainly one of the most peculiar albums on this blog, and some would probably argue it isn't progg at all. But, while it's perhaps closer to experimental and minimal synth, I've decided it has enough progg credentials to warrant inclusion. First of all, it was released on Uppsala label Piglet which also put out albums by Teddybjörn Band, Kaipa, Musikgruppen RAA, Jonas Palm and other strongly progg related acts. Also, it's not that far removed in attitude from Psynkopat. Which is a different way of saying that this is a clueless mess of being experimental and weird for the sole reason of being experimental and weird. Which, in turn, is to say this album is irritating beyond sense.

The brain behind Friz Be is one Roland Zinders who was also involved in another Piglet act, Imp Ink. The voice you hear is by Bengt (you know – Bengt). Bengt's lack of vocal talent perfectly matches Zinder's lack of musical direction and substance. I have a hard time finding any redeeming qualities in this album, but after trying the best I'm capable of, ”Half Brain Naked” is OK in a Njurmännen ballad kind of style (even the title sounds like something off a Njurmännen release). The dark instrumental that wraps up the album, ”Hommage au Muzak” is decent too, and reminiscent of Jonas Palm's soundscapes – is it possible that Palm, whose ”Ze Wörmnest” was another Piglet release, is somehow involved in this album?

”Hm...” was inspired by Gothenburg's Dan Fröberg of GOG cult fame. (GOG is known for their excessively rare and wildly avantgardist 1979 ”Beatless E.P.”) It was recorded in a barn in five days, but I doubt even years of recording sessions would have made it any better.

Some call this a classic. I call this a piece of shit.

I Throw Punches

Now Is The Time
Brosk Conversation

Half Brain Naked

Lufituaeb Eb Ot

Elegant But Very Fast 

Here We Go 

MOLLRÖR – Med muskelmun och mannarap (Brute Force, 1982)

Swedish vocals, instrumental

International relevance: *

 

I was actually completely unaware of this album until it recently began to make the Internet rounds. Mollrör grew out of Umeå band Peppe & The Popping Peanuts, formed in around 1973. While they never released a record, they did manage to get on Swedish TV with their song ”Killa mig på Kilimanjaro”, with the lyrics being a poem by Sixten Landby, a Umeå heavy weight lifter and strongman turned poet. Peppe & The Popping Peanuts were shunned by the progg movement (something they apparently weren't that unhappy with) but known locally for their semi-surrealist live shows, thus drawing comparisons to Danish rock theatre group Røde Mor.

I'm not sure exactly when Peppe & The Popping Peanuts developed into the curiously named Mollrör (roughly meaning 'minor tube', with 'minor' as in minor scales or chords). Their sole album, the equally curiously entitled ”Med muskelmun och mannarap” ('with muscle mouth and manna belch'), was released on local label Brute Force in 1982 in an edition of 337 copies and including a booklet. During the label's short existence – apparently founded in 1981 and closed down in 1983 – Brute Force Records mainly released punk related singles, most of them featuring label head and Mollrör drummer Lars Gillén.

”Med muskelmun och mannarap” is a rather strange album waving its fists in all quirky directions. Unfortunately, most songs fall in the pastiche category with a humorous flair (probably inherited from Peppe & The Popping Peanuts) which is more annoying than funny. Only a couple of songs is kept safe from the dated attempts at satire and parody. ”Rönnskärsverken” is a slow, angst-ridden track with a strong environmental pathos – decidedly the most successful track in this collection. ”Must och märg” is in a somewhat similar vein and the album's second best track. Of the pastiches, ”Desperate Prairie” is the most successful, an instrumental cowboy/surf track with garage psych touches provided by Roger Broman's swirling organ. Speaking of garage rock, ”Leker med eld” is a Swedish translation of The Seeds' classic ”Pushing Too Hard” but let's just say you hardly need to substitute your ”Nuggets” for ”Med muskelmun and mannarap”...

People specifically interested in the rock history of Northern Sweden, or any rare album regardless of what it sounds like might find this interesting. On strictly musical terms, it's nowhere near satisfying and is best avoided.

Lars Gillén passed away in March 2020 at the age of 66 after several years of fighting cancer. After Brute Force Records, Gillén founded the Garageland label who rose to some notoriety as a reissue label as well as the home of his neo-psych/space rock band Jukon Speakers.

Full album