UNOS KANONER - …Barm (Knäpp, 1982)

Swedish vocals
International relevance: **

Hardcore fans of this blog know that I have a strong fascination with bands with one foot in progg and the other in punk. Something interesting just happens when the twain meet. It's particularly interesting as those bands – such as Kräldjursanstalten, Fiendens Musik, Elegi and even Dom Smutsiga Hundarna – contradict the widespread notion that progg and punk were incompatible and at odds with each other. I don't subscribe to that idea at all. As I've said before, I think that punk was progg's unbehaved child running wild in the streets, and much closer to its parents than what was admitted back in the day. What differs is the expression and method, not so much the ethos vis-à-vis society versus the freedom of the individual.

Unos Kanoner are just about emblematic of the merging of the genres. Founded in 1979 in Borås a few miles east of Gothenburg, they may not be a household name today, but they gained nationwide exposure when radio show Ny våg (dedicated to punk and skewed music in general) played their track ”Sätt benen i halsen på dom borgarjävlarna”. The title roughly means ”ram your leg down the throat of the bourgeoisie scum” which surely was enough to have sensitive listeners cough up their dinner. Not the most subtle piece of poetry, the message was indeed clear, but if someone still missed the point, the rest of the blood spattered lyrics would surely erase any doubts what Unos Kanoner were on about.

The track was so exaggerated it's hard to miss the satire and the humour. Some night not like the phrasings, but they're so overwrought it's hard not to laugh at the point blank directness. ”Sätt benen i halsen på dom borgarjävlarna” is the most blatant example of lyricist, guitarist and singer Pentti Salmenranta's sentiments, but not the only one. The whole album is like an absurdist play of cruel and unrefined jokes clad in a variety of musical styles ranging from cabaret, marches, vaudeville and jazz, even psychedelia and prog (with one 'g'). The effect is like a gang fight between Blå Tåget, Samla Mammas Manna and Frank Zappa. However, the most terrifying thing about ”Barm” isn't the lyrical frankness, but how some of the songs are alarmingly current. ”Stövlar som putsas på nytt” (”boots polished anew”) touches with an unnerving accuracy on the renewed rise of fascist politics in so many countries today including Sweden.

”Barm” isn't necessarily a good album but it's original, twisted and, yes, bizarrely funny. Its relevance may not lie with its musicial qualities (although it's not without such) as much as with its ability to confound the listener. It's hard not to relate to it with awkwardness but it's equally impossible to shrug it off. My emotions towards it are as conflictive as the album itself: I don't like it, but I like it.

Unos Kanoner released two more casette-only albums later in the 80's, and appear with one track on the 1987 various artists comp "Samma båt".

Full album playlist

JERUSALEM – Complete albums 1978-1981

Swedish vocals
International relevance: */**

Jerusalem was the most popular Christian rock band Sweden had to offer at the time, reaching listeners far outside the religious circuits, even playing to foreign audiences. Founded near Gothenburg, they had a lot of the straight-ahead, dry sound typical to the late 70s bands of the area. Jerusalem was mainly a mainstream band but earned their popularity from their touches of hard rock and boogie rock. Their first album (sometimes referred to as ”Volym 1”) was released in 1978 and is an undigstinguished effort that fails to make much of an impression, with lacklustre sound and mediocre writing.

”Volym 2” is slightly heavier, slightly better produced, and slightly better. The most interesting tracks (without being that interesting) are ”Getsemane” and the extended ”Introduktion” which both features some progg characteristics.

Third album ”Krigsman” is probably the best one here overall, and also the most progressive one thanks to the title track with passionate vocals from Jerusalem main man Ulf Christiansson, ”Moderne man” which is the top track in this collection, and the 12 minute epic ”Sodom”.

This might give you the idea that Jerusalem are at least occasionally worthwhile, but I can't say they are. Most of the time they're mediocre and dull. Even duller is Ulf Christiansson's solo album ”I mina drömmar” released as Uffe in 1982, a painfully boring collection of radio friendly dross that shows hardly any of Jerusalem's heavier side which after all is their strongest point.

Jerusalem full album playlist
Volym 2 full album playlist
Krigsman full album playlist
I mina drömmar full album playlist

THE UNDERGROUND FAILURE – The Underground Failure (Black Light, 1971)

English vocals

International relevance: ***

The Underground Failure album is best known for showing the unusual talent of John Holm for the first time. Only a year later, he released the classic ”Sordin” which properly launched his irregular and often intriguing solo career. Other members also became well known although not as musicians. Lasse Ermalm became a record cover designer on many a label's payrolls, and Stefan Wermelin later on became one of Sweden's most prominent radio producers.

The Underground Failure started out in the late 60's, and as John Holm's first solo single was released in 1971, it's a safe bet that they disbanded the very same year. Their sole album was recorded in Wermelin's apartment between 1968 and 1971, and most notably features Holm's mellow and reflective songs. Many, if not most, people consider ”The Underground Failure” a weak effort (even Tobias Petterson, author of ”The Encyclopedia of Swedish Progressive Music” dismissed the album in an interview), but I disagree. Although not on par with Holm's later achievements as a solo artist, it certainly has an original feel that is strangely addictive. The primitive recording circumstances makes for a certain otherworldly atmosphere. Compared to Malaria which served as the main inspiration for The Underground Failure to release their own album, this is a stunning masterpiece. But then again, that doesn't say much.

Apart from Holm's slightly Dylanesque tracks, there's a slew of twisted country songs that have a charm of their own. It might be that selections such as ”Boil On My Mind”, ”All Night Looking Lonesome Blues” and the admittedly overwrought blues of ”Make Your Own Kind Of Music” disappoint the progg and folk psych diehards, earning the album its less than favourable reputation. The main part of the album however is an introspective and intimately recorded affair with John Holm's acoustic guitar at the core. A track like ”How Unpleasant To Meet Mr. Elliott” is nothing short of excellent and wouldn't have been out of place on some UK folk private of the highest order. ”The Weekend Masquerade” suggests the excellence to come in John Holm's near future, showing many of his melodic typicalities he's recognized for. ”Spring” sounds like a Fugs track in the vein of ”Morning, Morning” and ”Ah, Sunflower Weary of Time”, i.e. mysteriously serene and lysergically romantic.

The biggest problem with the album isn't the material but the decision to sing in English. Quite honestly, it's one of those examples of Swedes trying to speak English ending up sounding like complete fools. The pronunciation is a thorough disapproval of the Swedish schools' English language education back in the day.

The album was released in an original edition of 150 copies, never sold in shops, but a further 70 were pressed in 1974. The paste on cover showed a bunch of Russian musicians; the picture came from a postcard. There was also a bootleg reissue in the 80's, but it didn't do much for the album's availability. It's an extremely rare album today, as it was upon its release, but thankfully it can be heard on a limited edition CD nowadays.

Contrary to the general opion, ”The Underground Failure” is an appealing, and sometimes excellent, example of early underground singer/songwriter folk from the time when psychedelia was folding and progg was yet to properly flourish.

Outtakes from the album were released on the John Holm retrospective box set "Främmande natt" in 1997, along with a couple of solo demos in the same vein.

Full album playlist