Tuesday, July 21, 2020

VARIOUS ARTISTS – Glimtar II (A Disc, 1978)

Featured artists: Jazzgrupp & stråkkvartett / Carlstad Jazzquintet / Panik / Mantra / Nannie Porres / Ingegerd Nordell / Gothenburg City Pipe Band / Bo Thalén / Sibinović / Eva Waldemarsson / Slumpens Skördar / Göteborgs Visgrupp
Instrumental, Swedish vocals, English vocals
International relevance: **

Similar in style and disposition to volume 1 except that this is a single disc release as opposed to the preceeding double LP. Some artists are featured on both such as Ingegerd Nordell, noted jazz vocalist Nannie Porres, Mantra, and Göteborgs Visgrupp (of ”Riv alla stängsel” fame). ”Glimtar II” suffers from the same inconsistency as the first volume, with a hodge-podge of political progg, smooth jazz, folk and even a pipe band. Among the better efforts is Panik's lone track ”Ingenting” featuring some melodic fuzz guitar, althought it would have been more interesting hadn't it been an instrumental – in this state it sounds like a backing track rather than a finished track. Mantra's contribution is another stale fusion number, this time with a surprisingly spacey synth (or moog) driven middle section; "Two Cats in My Fantasy" might be mildly interesting to seriously devoted fusion heads.

The album was recorded in 1977 but not released until the following year.

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GIN & GRAPPO – Gin & Grappo (CBS, 1975)

Swedish vocals
International relevance: **

Featured on ”Who Will Buy These Wonderful Evils Volume 4,” 1974 single 'A' side ”Förståelse” is Gin & Grappo's best known song. It's a catchy little track, taking cues from The Rolling Stones classic ”Sympathy for the Devil”. Gin & Grappo released two more singles plus two full length albums, the first one being self released in 1973.

For their second LP, they scored a deal with CBS, confusingly enough eponymous just like their debut. The 1975 albu features eleven tracks, nine of them written by Janne Goldman (the Gin half of the duo, with Bo Johansson being Grappo), with a couple of lyrics penned by Anders Klintevall, at the time host for Swedish radio show Tonkraft. The songs are half decent, not particularly good, not particularly bad but not particularly exciting either. Most of them are in a 'soft-rock with an edge' mould with a couple of them displaying a slight country tinge thanks to steel guitarist Jan Lindgren. The performances are competent utilizing the talents of well-known studio musicians and seasoned performers such as skilled piano player Per-Erik Hallin (the Swedish Christian Elton John of the 70's), percussionist Malando Gassama and back-up singer Agneta Gilstig whose main claim to fame is releasing an album with Vatten's Thomas Ernvik in 1980. The best track is probably album closer ”Så många människor” (ironically one of the two non-Goldmann compositions).

Goldmann later embarked on a solo career releasing a couple of albums and several 45's, occasionally with his backing band Rock Und Roll Gruppe. Bo Johansson appeared on a couple of Goldman albums and wrote ”Christine” for Swedish Traveling Wilburys styled supergroup Grymlings (featuring among others Pugh Rogefeldt, Mats Ronander and Göran Lagerberg formerly of Tages, Kebnekajse et al).

Full album playlist

Monday, July 20, 2020

CYMBELINE – 1965-1971 (Guerssen, 2017)

English vocals, Swedish vocals
International relevance: ***

It happens ever so often that a band who released a good – even great – single severaldecades later instigates archival releases by labels specializing in reissues and archival releases. Sometimes those releases are best left ignored, while others actually unearth something worthwhile. This album offers a bit of both.

Norrköping based duo (sometimes trio) Cymbeline had only one 45 out on MNW's subsidiary Green Light, with ”New York” backed with ”Sixth Image” in 1970. ”New York” is an excellent slice of melodic fuzz-laced proto power pop in English (back when it was still OK to sing in English!) whereas the 'B' side has a dreamier mood akin to transient UK folk/psych/prog of the era.

With Guerssen's overview of a career that never happened dating back to 1965, it's obvious it has some poppier and less successful mid-60's moments. ”Fifth Image” is overall pretty bad while ”Look at the Stars” is sweet enough. ”Imagination” is rather evocative despite being a bit underdeveloped. Cymbeline did have a promising melodic sense already early on although it never reached the heights of highly talented Swedish beat groups such as Tages and Mascots.

There are also a few other later tracks that burden the compilation, like the painfully wimpy ”Mary Anne” and the second version of ”Stolta vingar”, decidedly inferior to the first recording of the song. The Swedish version of Jimi Hendrix's ”The Wind Cries Mary”, ”Vinden viskar Mary”, is a bit on the embarassing side too.

But when it's good, it's really good, and that goes beyond the seven-inch tracks. ”Third Image” (spot a title pattern here?) is unpolished but crunchy freakbeat with an understated chugging beat and howling guitars. ”Motala Ström” comes off like a semi-funky crossbreed of Pugh Rogefeldt and Anders F. Rönnblom. ”Flicka” in turn sounds like something a more psychedelically inclined John Holm could have come up with (although the tucked on jazzy ending is as illogical as it is unnecessary).

”1965-1971” is obviously inconsistent, with said inconsistency further emphasized by the bewildering track order. Members Michael Journath and Anders Weyde might have dreamed of putting out an album for some 40 odd years, but had they been given the opportunity to do so before their breakup soon after their lone 45 was released, it would definitely have been a more cohesive record. But that said, and with the primitive nature of many of the recordings firmly in mind, this is an essential trophy of previously unrecognized talent. The good bits easily make up for the lesser moments here.

Full album playlist (Bandcamp)

Monday, March 30, 2020

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. Occasionally, 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.


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.

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

Saturday, January 26, 2019

ROLAND KEIJSER IN MEMORIAM 1944-2019

It is with a hurting grief in my heart and a pain in my soul that I share the news of Roland Keijser's passing. The loss is unmeasurable on so many levels I hardly know where to begin. Maybe by saying what everybody who ever heard him play already know: He was a true master musician. One of those who could make me pick up an album if his name was in the credits. Because he always played the truth. The instrument – no matter if it was the saxophone or if it was a flute from faraway lands – was always an extension of himself. He played like a spiritually enlighted philosopher, phrasing his knowledge of man and music with the immediacy of genuine honesty. He was always on a different level than everyone else. He played like Roland Keijser, and Roland Keijser only. He was a meaningful Musician, always demonstrating the innermost comprehension of Music.

He was also my friend. No, we never met in real life, but we exchanged a vast number of messages and letters over the years. Our Facebook conversations were often long and sometimes intimate, almost in a hushed way. We didn't so much write as we spoke to each other, even if the voices we used were those of the written word. Sometimes we quarrelled – I'm an outspoken person and so was Roland. I wasn't afraid of telling him straight when I thought he was completely off on some topic, and he wasn't afraid to tell me if I have crossed the line of civility. Friends can do that and still be friends when there's a sincere, mutual respect.

But most of the time, we had similar ideas and during our extensive conversations, we touched on a wide array of topics. Even when agreeing with each other, we could make the other person consider other possibilities, calibrating our opinions, shifting our perspectives. Talking to him about Blå Tåget and Arbete & Fritid often generated a tsunami of memories, opinions, historical facts that was impossible to find anywhere else. He narrated his own past, and I eagerly sucked up every drop of information he humbly provided me with.

And he never gave up. During his last months, he battled the big C, but he kept on working. He told me he was busy making new music, and just before his passing, he uploaded a set of brand new recordings to Youtube. A farewell gift to his fans and friends? Probably. He stoically faced his fate, he knew he wasn't able to fool the grim reaper. But he died so fully living that the circumstances allowed him to. He never stopped being a Musician. The full Keijser discography is voluminous; the Arbete & Fritid and Blå Tåget albums are just a little part of something much, much bigger. It's always an interesting listen, often illuminating, never irrelevant.

But it was Arbete & Fritid that introduced me to his music. That particular band was instrumental (no pun intended) in igniting my interest in progg. If you will, Roland Keijser was crucial to the birth of this blog. Without him, this would likely never have happened. His music so often revealed the invisible to me. And I can't stop listening. Arbete & Fritid's first album still moves me in a way few other albums do. It phrases things that the spoken or written language can't fathom. His music, old and new, is indestructible. Resistant to time. It's music that channels the eternity while being an indisposable part of it. Thus, it will never be forgotten, Neither will its creator.

May you rest in peaceful spheres, Roland, and from deep within my heart, thanks for everything you've done for me!