Z-Axis ~ USA ~ Atlanta, Georgia

Concatenations (2006)

In a total coincidence, this album was randomly chosen immediately after Gigur. Though I initially received it a few months later after my self-imposed musical exile. Meaning I do have a review for this one! And here it is:

---10/30/06

Z-Axis are a space rock, post-rock group from the Atlanta area, who pull out a few surprising twists and turns on Concatenations, their long awaited follow up album to their 2000 debut. Influences range from Ozric Tentacles to Tortoise to classic Krautrock and everything in between (and, well, beyond too). Opening with 'Out of Hand', a straight ahead guitar based groove rocker, with mellotron and other electronics floating on top, and crazed narration in the "Dawn of Brainticket" mode. Though, in this case, we get some good old fashioned southern preaching on the evils of sexual flirtation, verse the LSD soaked paranoia schizophrenia of Switzerland’s finest. Yea, a cool opening is right! The lively Whitewater follows with a catchy guitar melody and laid back mid-section with spacious keys. Next up is the nine minute triptych 'Too Clever By Half', and like all good multi-part lengthy tracks, mixes quiet meditative sections with high energy guitar-centered rave ups. 'The Grey Neighbors' and the continuation on 'Dry Land' are a personal favorite, due to the trance inducing nature of the percussion, mellotron, and acoustic guitar combined with a synthesized harmonium sound. They're almost in The Spacious Mind territory with this block of tunes! 'She Had to Go Live With the Lizards' returns to the female narration idea with a great fuzz solo, and odd Fish like vocals, which somehow fits here. 'Put Out the Cat' has a 1980s retro-wave urgency to it (who remembers Mason + Fenn's Profiles?) and is probably the most pure post-rock track on the album. Majestic, piano driven 'Columbia Dam' closes in grand fashion with featured guest flute (she should be a full time member!) and recalls Tangerine Dream around the Force Majeure album. I’m not one to do track by track reviews (and I did skip writing about a couple), but Z-Axis have no one particular style and run across a lot of familiar territory. The aggregate, though, is entirely unique. You know, the sum and parts and like that… A good album.

---5/27/25

And that was my last listen. I didn't even realize I owned it until I found it buried in my cd-r books (i.e. long forgotten). The album never received a release in a more stable physical format. This was to be their last album as it turns out and I still haven't heard their 2000 debut. I suspect the mellotron is sampled as it sounds too smooth to be real. I checked the Planet Mellotron site but he didn't have it listed. In any case my review above is detailed, and I hear it similar today. Worth keeping.

Ownership: 2006 Gnosis (cd-r)

10/30/06 (acquired / review); 5/27/25 (update / new entry)

Mahogany Frog ~ Canada ~ Winnipeg, Manitoba

DO5 (2008)

Since DO5 was the first album I'd heard by Mahogany Frog, I just presumed it had been more Canterbury styled than On Blue, since I gravitate to the genre. In fact it was the opposite. As I was listening I begin to wonder why I was drawn to the album at all, given its heavier rock nature and post rock underpinning. But as the album goes on, I was taken aback by the energy, which is more Ozric like and definitely could be considered space rock too. Couple that with their inherent knack for melody, and you have a very unique combination. Which is reason enough to find space in the collection. I enjoyed a +1 listen last night (well two actually). In reviewing both Mahogany Frog's that I own, it's clear I didn't have a solid grasp on their sound. I wouldn't mind hearing their other six albums at some point. And it appears they are still active. Cool. I'll add to Under the Radar as well.

Ownership: CD: 2008 Mafrogany Hog. Digipak. Funny label name.

2008 (acquired); 11/16/23 (review)

On Blue (2005)

On Blue had come up through the weed out stack where the survival rate is very low these days. But happy to say On Blue made it. This is the kind of music I'm really appreciating - highly melodic, analog fuzzy, and prog rock minded. I've never really gone too much for post rock - a bit too static for my tastes - and Winnipeg's Mahogany Frog have those tendencies. But there's also a strong Canterbury flavor here, a style that seems to be a natural fit for post rock. It's a very short album, barely clearing 30 minutes, indicating its preference to be a vinyl release (which it was too). Because of its brevity I listened to it four times straight which allows more time for the melodies to sink. Each listen was better than the last. Those are the kind of albums you want to keep.

Ownership: 2005 private (CD). Digifile sleeve. 

1//09 (acquired); 12/20/18; 11/11/22 (review)

11/11/22 (new entry)

Krakatoa ~ USA ~ Philadelphia, Pennsylvania

Togetherness (2001)

Strange this one. I'm really fond of We Are the Rowboats, a wonderful mix of avant prog, post rock, and neo psychedelia. But this title was more of the former and not so much to my liking.

2001 etherdrag (CD)

11/22/22 (review)

We Are the Rowboats (2003)

Krakatoa were an interesting band from Philadelphia (later Brooklyn) who combined avant progressive, post rock, and psychedelic music to great effect. They took the best elements of each: The quirky complexity of avant prog, while foregoing the dorky pursuit of the cutesy. From post rock they inherit the modern day melodicism, but avoid the staid 4/4 rhythms for a much more complex approach. And the true secret ingredient is the addition of a late 60s psychedelic edge, adding something to the music that many newer bands in the progressive rock field forget to do: Rock.

Even with the above, on paper anyway, the band sounds marginally interesting if the contents aren't mixed properly. And that's where Krakatoa creates their separation from the competition. Wonderful stuff.

Ownership: 2003 Cuneiform (CD). Booklet features recording details, a concert photo, and art. Acquired in 2003.

2003; 2/1/10 (review); 1/24/25 (update)

Also own and need to review Plan Ahead.

2/1/10 (new entry)

Anekdoten ~ Sweden

Until All the Ghosts Are Gone (2015)

---7/15/22

This was in the weed out stack, but I remain undecided, hence its placement here. Not good enough (yet) for a feature, but also not on the passenger list for the next bus out. On the one hand I really like the return to their analog 70s roots. On the other, I'm not too keen on them continuing with that modern post rock / alt rock style of song that turned me off from their post-Nucleus works. At first the latter was winning the battle of my mind and I was looking for a price point to sell. But it started to win me back as the album progressed. A second listen had similar results. There's a lot of great material here for sure. Love the cover too.

---11/8/23

Last night's listen was more positive from top to bottom. Perhaps I haven't been listening to as much "retro prog" as prior, so I warmed up quickly to it. Or I'm getting more nostalgic as every year goes by (probably). There's more than a nod here to Vemod, and maybe this is the album that closes the circle for Anekdoten. 

I see they're still around, posting here and there, but nothing indicating they're pining to get together in the studio as a group for another go. Not sure they need to really. Whatever this collective group of minds has to offer, they've managed to successfully release those ideas over a 22 year timespan. I wrote extensively about my experience with Anekdoten on the Vemod review - anything else will be repetitive. 

Ownership: 2015 Virta (CD). Tri-fold digipak. Acquired in 2015.

5/24/15; 7/15/22 (review); 11/8/23 (update)

Vemod (1993)

I suppose if one is to review Vemod properly, they must mention it sounds like King Crimson’s Red, and then you can move on to your main point, if there even is one to move on to (don’t get me started on this Starcastle thing again). Of course when Vemod was first released in 1993, the excitement level was very high for the new album. Anekdoten were the other band from Sweden that had all of us in a swoon at the time. Presumably I don’t need to divulge the name of that other group. Whatever the case, some of my friends were quick to declare Anekdoten as the better outfit. I never agreed with that, but basically we’re talking varying degrees of what a 5 star album is. In Gnosisland we would characterize the two as distinguishing between a 13 and a 14. And while King Crimson entered my mind on first impact, it wasn’t all encompassing. I don’t recall King Crimson having a Swedish folkloric underpinning for example. Vocalist Jan Erik Liljeström possesses a softer, more gentle tone than John Wetton’s matter of fact singing approach. There's cello instead of violin. The driving woody bass is more from the Yes school, and then there’s the mellotron. Bassoon tapes anyone? When guitarist Niklas Berg begins his riffing, and then OK yes, Larks' Tongues in Starless Red does come to mind. No doubt Anekdoten themselves will freely admit the influence, especially from a compositional structure perspective. Many modern bands are, and forever will be, influenced by the almighty King Fripp, just as King Crimson were influenced by the classical masters of the past. There’s so much on Vemod to digest, that simple comparisons aren’t going to do it justice. I’ve now owned this album going on 24 years (hard to believe isn’t it? Seems like it was new last week.). And I will say it still raises the hair on the back of my neck.

So you’re damn right it’s stood the test of time.

Ownership: 

1994 Colours (LP). Gatefold. Acquired in 2017.

1995 Arcangelo (CD). Includes a very important 10 minute 'Sad Rain' track which is as good, if not better, than anything else on the album. Acquired in 1995.

First copy: 1993 Virto (CD). Acquired in 1993

1993; 1994; 1995; 3/5/17 (review)

Also own: Nucleus

Previously owned: From Within; Gravity; A Time of Day

3/5/17 (new entry)

Fren ~ Poland

Where Do You Want Ghosts to Reside (2020)

I had a few people recommend this title to me last year, more than usual, so I figured I'd add a new contemporary group to my buying list. The trouble was that every time I went to purchase the CD, it would have just sold out. Finally was able to secure one, and let's see what we have here. 

Right from the opening mellotron notes, it's clear this is going to be in the retro prog space, which is how it was described to me as well. What's strange about that is retro prog - as the term has become understood - is primarily a western European phenomena, based on their own country's 1970s progressive rock past. Especially England, Italy, and the Scandinavian countries. And the occasional Yank I suppose. But Eastern Europe's progressive rock scene of the 70s grew up differently. It had no choice, being forced to separate due to Communism. I enjoy both immensely, and it's nice to see a band from Poland make a try. When I think of Poland, bands such as Collage and Riverside come to mind, each being champions of neo prog and modern prog respectively.

Now having said all of the above, Fren aren't Wobbler, Astra, or Anglagard either. There is a distinctive post rock element to their sound - and the lengthy meaningless title of Where Do You Want Ghosts to Reside kind of gives that away. Big sweeping symphonic sound - somewhat modern sounding - as if Pink Floyd circa Animals wanted a try at emulating Jordsjo. I've always struggled with those lethargic fat beats that the genre seems to call for. So yea, Fren are a retro prog post rock band. Read that last sentence again. What a world we live in. Genre's aside, I was a bit fearful that the rhythm section wasn't going to participate, and essentially a computer could have taken over. But my fears were assuaged by the time of 'Gorąca Linia' and especially the jazzy 12 minute 'Pleonasm', quite possibly the highlight of the album. There's a slight resemblance here to fellow countrymen Gargantua. The entire band is quite accomplished, and I truly enjoy their (mostly) analog mid 70s sound. In the end, I'm rating this all instrumental album as "great", with the caveat that I'll need some convincing to move on with the band's next effort. Every year that goes by, the collection space is getting tighter. Standards are very high for newer albums. I know it's not fair that Night Ranger gets a nostalgia pass and the accomplished Fren has to fight to get in. But that's the way it is.

Ownership: 2020 private (CD). Die-cut digipak, with insert that changes its design. Also really appreciate the murky yellow and black original artwork. Acquired in 2021.

5/16/21 (review / new entry); 11/11/23

Tuna Laguna - Ripples and Swells. 2007 Norway

Tuna Laguna are a modern Norwegian post rock band who have a clear connection with the US post rock scene similar to Tortoise for example. But there’s more here than insouciant mid paced jams to aid with your sleeping disorder. With the growling fuzz bass, wah wah guitars, filtered organs, and the occasional tempo change, it’s clear Tuna Laguna have a bit of 1970's instrumental European prog rock in them. And the 7 piece band collective, including 3 guitarists and 2 keyboardists, allow the group a multitude of options that really expand their sound. Add in the melodic content that is post rock’s greatest contribution to begin with, and you have a nice piece of music to drive the Interstate with.

CD: 2007 Guano

Last listen: August 8, 2017

Taipuva Luotisuora - II. 2006 Finland

After being completely blown away by their debut, I rushed out to buy the followup which had just been released at the time I’d discovered the debut. Some noticeable changes have taken place in the short year since. The guitars are slightly heavier, not quite metal, but a distinct modern hard rock crunch is present. There are now vocals, which could be a great addition for a band like Taipuva, but I felt they’re executed all wrong for the exotic music at hand. First the lyrics are in English, rather than the more interesting and non Indo-European Finnish. Worse, they’re delivered with the whiny American indie style that seems will never go away (sigh). Perhaps a more mysterious approach to the vocals (female, echoed, whispered) would be far more interesting for the music that Taipuva play. The instrumentation seems stripped down a bit (though the liner notes still call out the kantele, violin, Hohner Melodica, and woodwinds). Also, not near enough of the Hidria Spacefolk, Korai Orom sound as prior – though as a plus I do hear some of the much missed Dutch group Kong. And finally, the modern electronica sounds of the debut are even more in use here, most notably on ‘Uotila’ and ‘Unaja Infinite Laser’. Now this latter point actually demonstrates some progress for the band. Like a good movie director would employ, the special effects are used to enhance, not overwhelm the proceedings. I don’t want to overplay the negative here with the vocals, as "Viking Zulu" does possess a good voice, and there are only 4 tracks where they are utilized, out of 9 total. In some ways, all the tracks (including those with vocals) are more complex than even the first album, which is outstanding to see. Still, the Taipuva Luotisuora tribe" that the music created for my imagination is missing here. So probably this album is the one that is favored by the majority, but I found it more typical of the underground scene. I miss the exotic nature of the debut. Not wanting to send the wrong message here – this is still a fantastic album, just a bit disappointed that it seems to be a step towards the middle.

Ownership: CD: 2006 Kaakao

6/7/06; 10/26/17 (new entry)

Zhaoze (The Swamp) ~ China

Intoxicatingly Lost / Yesternight, Yes Tonight. (2015)

I said it before within the review of a Trail Records sampler, and I will say it again: You can be rest assured the next big wave for fans of progressive rock, and for new artists, will come from China. Is it imminent? Probably not, but it’s coming just as other populous nations like Japan, South Korea, and Russia did before them. Zhaoze is more commonly known as The Swamp, and have been releasing albums (in obscurity it appears) since 2001. Intoxicatingly Lost is basically a reissue of their last album Yesternight, Yes Tonight (2015) and filled out with tracks culled from earlier works. This is, as the label designates, their first official "Western" release. Trail Records continues to release some of the most interesting albums from around the world, and are to be commended for such. Musically, Intoxicatingly Lost is really more in the post rock category. Long instrumental pieces that are built on atmospheric passages, taking the late 70s Pink Floyd ethos into Tortoise and Godspeed You Black Emperor! realms – all with indigenous instruments mixed in (primarily the guqin) with the usual rock setup. I also found the rare use of flute as highly effective in this setting. The final title track gives us a glimpse into Zhaoze leaning in the space rock direction, and is the highlight. From a government regime / controversy standpoint, the album is about as subversive as a glass of milk. And the fact the band didn’t ignore their own native sounds, it seems the album will appeal to many worldwide as well as closer to home. At least of those who know of its very existence, that is to say.

Former ownership: 2016 Trail (CD). Acquired in 2017. Downsized in 2026.

2/18/17 (review / new entry)

Moonwagon - The Rule of Three. 2015 Finland

The Rule of Three, is appropriately enough, Moonwagon's 3rd album. Picking right up from Foyers of the Future, the album starts off more geared towards broad strokes and atmospheric space rock. This goes on for the opening 3 tracks, with 'The Infinite Pattern' being the highlight with its strong melodic content and various meter changes. 'Run to the Sun' recalls the 90s neo psych movement, and  is the only track to feature vocals (in English). 'Skylines at Night' seems almost like a homage to the late 70s French and German guitar oriented electronic scene, with soaring guitar leads, steady beats, and a heavy synthesizer presence, perhaps like Christian Boule's Photo Musik, for example. This leads to the final epic track, where we get the payoff for the time invested. Mostly an old school early 1970s Kosmische Kouriere trip with echoed electric piano, scattered drums, acid guitar leads, and moody synthesizers. The mid section follows - but more towards the jumpy Quantum Fantay variety of Ozric Tentacles, and finally finishes with an almost Zeuhl like bass riff with atmospheric Rhodes electric piano over the top. Not like anything else I've heard prior, though still quite familiar. Superb. A new direction for the band perhaps? We can hope.

Ownership: CD: 2015 Presence

1/15/16 (new entry)

Landberk - One Man Tell's Another. 1994 Sweden

Landberk were first. It was they who originally brought the early 70s Swedish analog progressive sound back to light in the prog starved early 90s (yes true). Anglagard and Anekdoten were to follow shortly thereafter. So after a brilliant debut (the native Swedish version being the more preferable of course), there was great anticipation for my friends and I, as to what would Landberk followup with. And it was... not this. Almost ironic in that Landberk, on the grammatically incorrect One Man Tell's Another, copied the more atmospheric and arty portions of Anekdoten's debut. And like the latter band, began to sing in English exclusively. WTF? Well, I never gave up on the album, storing it away for future listens. Today, I judge the band on what they were doing, not what I wanted them to do (a common problem we all deal with). It's still heavily based in psychedelia, with fuzz guitar, Hammond organ, and mellotron everywhere. But the music is geared more towards 90s art rock than 70s symphonic progressive. One can hardly blame a contemporary group trying to be relevant in modern times. This was still 1994, not 2016, where retro prog is now considered cool. Back then, it was not I assure you, and these bands from Sweden were pioneers with a very small audience (there were only a few of us then - and certainly not hipsters!). Of course, even in retrospect, I would have wished for a more developed successor to the debut. But what they recorded is still quite excellent. And has stood the test of time quite well. Perhaps better, yes.

May 22, 2018 update: Sold the CD as I received a great offer. I'll do without for now.

1/6/16 (new entry)

Taipuva Luotisuora - IV. 2009 Finland

Seems that many new bands are attracted to the post rock sound, and Taipuva Luotisuora are no exception. Now normally I'd associate the moniker with the "dull" adjective, but in the hands of the almighty Taipuva Luotisuora, they take the lethargic yet melodic approach and add quite a bit of complexity to the proceedings. There's also a big sweeping sound that gives IV a cinematic quality rarely heard in digital form. Analog 70s styled Moog synthesizers provide many of the solos, adding a much needed warmth to the overall sound. Copious use of tuned and hand percussion is another plus. Fortunately Taipuva Luotisuora have foregone the vocals (excepting some wonderful atmospheric wordless voice), though it also appears that they've ventured away from pyrotechnic guitar solos as well, which is missed. And the indigenous kantele is never too far away. IV is a step forward for the band.

Ownership: CD: 2009 Kaakao

2009; 4/27/13 (new entry) 

Taipuva Luotisuora - 8. 2013 Finland

8 starts off like a space rock version of Led Zeppelin's 'Immigrant Song', before settling down into their usual cosmic groove. The guitars are noticeably heavier than prior, and they seem to be circling the post rock genre a bit more closely than before. Faux organ sounds are never a bad idea, and nice to see Taipuva Luotisuora applying both that and the rare guitar solo back in the mix. Overall, 8 may be their most straightforward disc to date. I for one would like to see them reach back to their debut for some inspiration on future works. This is the first album where I feel they have stopped innovating. Too comfortable. But it's still excellent!

It appears the bands naming convention is 2 to the (x-1) power where x is the actual release number (not counting the demo of course). We'll see if that holds up. If so, the next album will be either 16 or XVI.

Ownership: CD: 2013 Kaakao

3/26/13 (new entry)

Moonwagon - Foyers of the Future. 2012 Finland

For their followup Foyers of the Future, it appears Moonwagon are consciously moving away from their Ozric Tentacles roots, and trying their hand at slower, more melodic music - citing perhaps the influence of a group such as the Future Kings of England. 'Elsewhere' opens the album with a Pink Floyd styled atmospheric rock number. This is followed by two rave-ups 'New World Warrior' and 'Dawnwind' that recall "Night Dust", and it would seem Moonwagon are off to the races. But from track 4 on, they put on the breaks and the focus is more on melody and atmosphere, rather than rhythms and pyrotechnics. I think I prefer the former style, but it will be interesting to see where Moonwagon goes from here.

Ownership: CD: 2012 Presence

12/8/12 (new entry); 9/7/18

Deformica - H. 2006 Argentina

Interesting debut by Deformica who hail from Argentina. Clearly the post rock bug has bitten them and one can hear influences anywhere from Tortoise through to Don Caballero. To my ears, that would imply they are a bit boring, but Deformica take the music much further, with many changes of mood, texture, metrics and dynamics. On this point, one can hear mid 70s King Crimson and their current following channeled by groups like Yang, Exsimio and Djam Karet. Deformica are not afraid to experiment and it’s interesting to note the band will throw in a loose improvisation at the very end of most tracks, providing a relaxing interval for the next blast off. I’ve never heard a band systematically improvise on the last minute of each track like this. It’s a winning idea. The keyboard tones tend to be digital emulations of electric piano and are far too timid for what this band needs. The dual guitars generally play in unison or in counterpoint rhythm mode, but occasionally break into a nice solo, though it doesn't seem to be their forte. The guitar tones tend to the psychedelic which I find highly appealing. The rhythm section is solid, and the bass player demonstrates some massive potential, that isn’t yet completely realized. A very impressive debut, though I would like to see them blow the lid off a composition once in awhile - in a place where you’d find Nebelnest maybe.

CD: 2006 Viajero Inmovil. Standard jewel case release

10/23/07; 11/15/12 (new entry)

Hidria Spacefolk - Astronautica. 2012 Finland

Space rockers Hidria Spacefolk return five years after Symetria with Astronautica, an album that has been highly anticipated by many, including myself. A couple of changes have occurred in the interim. The original keyboardist moved to Germany and has been replaced by Veikko Sutinen, who seems to favor the Fender Rhodes a bit more than his predecessor (that's a good thing). Hidria Spacefolk have also expanded to a sextet (yet another good thing) with the addition of percussionist Olli Kari, formerly of the much respected Uzva. Olli plays marimba, vibrafone, xylosynth, and sundry percussion. Despite these changes, Astronautica is largely a continuation of the style found on Symetria. Broader strokes, larger sound, simpler compositions, with more emphasis on atmosphere rather than tricky intricacies. However, there's no mistaking that this is a Hidria Spacefolk album, and they continue with their lively instrumental melodic psychedelic music, with plenty of tempo changes and electric guitar solos. Great driving the highway music! Overall an excellent album, though still not up to the high standard (IMO) of Symbiosis and Balansia. I'm already waiting anxiously for the next album!

Ownership: CD: 2012 private

11/14/12 (new entry)

Hidria Spacefolk - Symetria. 2007 Finland

Symetria shows Hidria Spacefolk cutting back on the edgy complexity of their first two albums, while adding more of a steady post-rock sensibility. These changes are somewhat understated, so it's more like a trimming of the hedges, rather than a replanting of another bush. The title track and 'Futrur Ixiom' demonstrate quite well this movement to the center. Gone are the high powered psychedelic sequences and ripping guitar solos, and its place is a more staid melodic and atmospheric approach. That's not to say the band has moved away from mid-tune meter shifts, it's just a bit more toned down. '322' seems inspired by the stoner metal movement, as no doubt the band performs live with many acts that represent that genre. However they do manage to avoid the standard trappings of stoner rock (slabs of metal guitar distortion, raw drunken vocals, etc...), and instead inflect the typical Hidria Spacefolk treatment, that as a bonus inserts midstream a cool funky rock sequence complete with horns. 'Flora/Fauna' is a new twist for the band, calling out their Scandinavian heritage - in this case the region's penchant to produce a type of rural rock, a favorite style of nearby Denmark, especially in the early 1970s. To be honest, at this point of the album, Symetria is a bit of a disappointment. However, Hidria Spacefolk saves the best for last, and the last two tracks, totaling close to 20 minutes recall the superiority of Symbosis and Balansia. All the same, I hear this album a full star less than its predecessors, though still quite excellent obviously. It's probably no surprise that Hidria Spacefolk decided to break at this point, probably realizing they were beginning to hit a rut. Fortunately they reconvened in 2012 for a new album.

Ownership: CD: 2007 Next Big Thing

2007; 11/13/12 (new entry)

Deformica - Páramo. 2010 Argentina

Deformica, on their second album, takes one step forward and two steps back. Ironic in that the one step forward is the use of vintage equipment such as Fender Rhodes, Mini-Moog, and Hammond organ. The two steps back is the choice of musical direction. Gone are the psychedelic guitars of H and its place is a determined pointed move in the post-rock direction. Lots of Frippian sound-on-sound barely amplified guitar, and laid back melodic sequences. A cross between 90s King Crimson and Don Caballero. Overall it's a bit too restrained and static for me. The exception is the opening track 'Novelesco' which sees the group try their hand at instrumental psychedelic music with great success (and wonderful Moog sounds). The post-rock thing has been done over and over by countless bands. But not near as many modern bands have gone all out for a 1970 psychedelic sound. Too bad.

CD: 2010 Viajero Inmovil

9/21/12 (new entry); 9/4/18

Conny C - A Malmqvist, Hans Åkerhjelm ‎- Kvinnan I Det Låsta Rummet: Filmmusiken. 1998 Sweden

This very obscure album from Sweden is absolutely loaded with mellotron. Atmospheric soundtrack music with plenty of guitar as well (the music is for a TV mini-series). Somewhere between Alain Goraguer's classic La Planete Sauvage and post rock (Tortoise, etc...) is where you'll the music of Kvinnan I Det Låsta Rummet. Excellent little oddity if you can find it.

Ownership: CD: 1998 Vibrafon. Standard jewel case release with an artistic multi-foldout booklet with recording details. Photos here are from us as we added them to Discogs (2022). We also made the original entry in 2016, complete with errors, but no one fixed them. Once again demonstrating how obscure this CD is.

9/7/11 (new entry); 9/17/22    

Gosta Berlings Saga ~ Sweden

Glue Works (2011)

As mentioned on the Detta har Hänt review, Gösta Berlings Saga seemed to be moving away from their Swedish folk roots and more towards modern post rock. And now they've jumped off the cliff and thrown their lot in with this latter movement. A wall of sound approach, with mid 70's King Crimson and late 90's Anekdoten references everywhere. I'm sure the intensity of playing this music can be quite inspiring, if not emotionally exhausting - but as a listener it can stray towards the mundane after a few minutes of the same pattern.

All of which sounds like I'm low on this album. I'm not. But given the immense promise the debut demonstrated, it's very disappointing to be here. I do enjoy, however, the Zeuhlish closer 'Sorterargatan 1'.

2011 Cuneiform (CD). Acquired in 2011

6/26/11 (review); 12/22/23

Detta har Hänt (2009)

Two albums in now, and I can honestly say Gösta Berlings Saga has never written a song that has blown me away. Nor have they played anything I didn't like at all. Strange. A new guitarist is in, but mostly the music has stayed the same from the debut. I'd say the "Swedish-ness" has been removed and that's a step backwards for me. And perhaps the post rock tag could be applied in various places (yawn). There's a certain driving monotony to it all. But again, we're in familiar progressive rock territory for most of the album. It seems they're on the cusp of releasing one of the best albums of the last 10 years, but they hold back just a bit too much.

'Sorterargatan 3' has a nice repetitive groove to build upon, the kind that made some of those classic 70s albums so good (think Magma). Or a modern band like DFA. 'Bergslagen' is closest to the debut with mellotron and a hint of Swedish deep-in-the-forests type melodies and atmospheres. Best track on the album. 'Västerbron 05:30' features some aggressive guitar soloing that I found refreshing. There also seems to be more of an Anekdoten influence (first two albums) than prior.

Ownership: 2009 Transubstans (CD). Acquired in 2009.

2009; 6/25/11 (review)

Tid Är Ljud (2006)

Gösta Berlings Saga could be considered the perfect modern Swedish progressive rock band. They look inward towards their own country for melodic inspiration, rather than the UK / US style of groups like The Flower Kings. Second album Kebnekaise is about where they land on the Swedish scale, but Gösta Berlings Saga are far more symphonic than that may imply. They use plenty of vintage instrumentation (as expected, primarily in the keyboard department with mellotron, Rhodes and various Moogs), yet the production and overall sound has a modern sensibility. Gösta Berlings Saga are one of the few groups of our era that do not belong to a current sub-genre, such as post rock, prog metal, neo, avant, retro / proto, jazz / fusion etc... They are, in fact, a straight ahead progressive rock group. They have respect for the 1970s, but aren't stuck in it. This might all seem like we're smack dab in the middle of our interest area, and thus might be a little boring or uninspired. And yet it's not at all that way, proving that the old recipes are generally better than the new concoctions. A pretty new room in an old house.

It's near impossible to pick highlights. All of the tracks are remarkably consistent, though by no means samey sounding. I will also allow that there's no drop dead killer tracks either. 'Helgamarktz' & 'Syrenernas Sång' lay the foundation of what Tid Är Ljud is about and if you like these two, it's highly likely you'll love the rest. 'Aniarasviten' has a stunning melody as its centerpiece, to an overall excellent moody composition. 'Ljud Från Stan' is more of a psychedelic jam rock piece, with fine guitar and Rhodes soloing. Gösta Berlings Saga shines in this setting and are able to maintain the intensity necessary. 'Tog du Med dig Naturen?' & 'Knölsvanen' seem to blow by, without having much impact. They're both fine tracks, and perhaps it's their placement that keeps them from standing out, even on multiple successive listens. 'Svarta Hål och Elljusspår' adds flute to great effect, providing the right soft focus lead instrument Gösta Berlings Saga definitely needs to get to the next level. All in all, a highly recommended album.

Ownership: 2006 Transubstans (CD). Acquired in 2007.

2007; 6/24/11 (review)

6/24/11 (new entry)

TNVVNÜM - Ouroboros. 2009 Estonia

Excellent new, primarily instrumental, band from Estonia whose full name is Tõele Näkku Vaadates Võib Näha Ükskõik Mida - just rolls off the tongue doesn't it? The name translates more or less to Facing The Truth You Can See Anything.

The opening of TNVVNÜM's second album Ouroboros sits somewhere between the post rock of Tortoise and Ummagumma era Pink Floyd. The song structures meander similar to the former, but the Gilmour leads and fuzzy sounding ancient organ point to a late 1960's sound. By track 4, the album is already in full blown psychedelic rock mode, which endears itself to this listener anyway. The eerie narration/vocals of 8) give off more than a whiff of first album Trettioåriga Kriget. The album peaks on the sublime 'Bad Chemicals', an appropriate name given the disorienting psychedelic nature of the song. This song could have easily been part of the Pärson Sound repertoire of 1968.

Highlights (using the provided English translations as I'm too lazy to type in the Estonia names): 3. Seagull (3:30); 4. State of the Dream (6:36); 6. Ambrosia (4:10); 8. Solar Eclipse (6:09); 9. Bad Chemicals (5:31); 10. Earthbound (5:30)

Ownership: CD: 2009 private. Housed in a nice hard bound mini-LP sleeve.

5/10/11 (new entry)