A KLIPPAN PROGG SCENE SPECIAL – Tors Hammare / Heta Drömmar / Svenn Kruse / Christian Brandt

Klippan is a small mill town in the northwest part of the Skåne county in the south of Sweden. Way back in time, Klippan was known for their wool production, and later (and to this day) for their paper industry. But they did also leave an indelible mark on Swedish rock history in the late 70s and early 80s when local record label Svenska Pop Fabriken (and their various sublabels) began releasing singles and albums that gained nationwide attention from both media and record buyers. Responsible for the first ever Swedish punk single ”Vårdad klädsel” by Kriminella Gitarrer, they soon added bands like Torsson, Kommissarie Roy, Noise, The Push, and Wilmer X to their roster. Being a very Swedish label, none of the bands (mostly singing in Swedish) are known outside our borders, although Kriminella Gitarrer have indeed earned a belated international reputation as interest in local punk scenes has grown around the world. Most of Svenska Pop Fabriken's output may be called rural rock'n'roll with a strong sense of pop melodicity, but to someone like me who pretty much grew up with in their golden era 1978-1985, their legendary status is carved in stone.

However, Svenska Pop Fabriken's history goes further back in time to the music association Bombadill who took the homegrown music very seriously. Not only did Bombadill function as a local network for the bands, Bombadill also built their own studio. Plenty of recordings were made there from the mid 70s and on. One album and a couple of cassettes of Bombadill recordings were released at the time. Although Klippan is best known for the pop/rock of Svenska Pop Fabriken, a few of those early bands and artists represented a more progressive and experimental style. 

Tors Hammare: Ska du med på disco 

Tors Hammare went through several line-up changes, but important members in their fledgling days were Örjan Mjörnheden (guitars, vocals), Svenn Kruse (guitars, vocals) and Christian Brandt (percussion, violin). The so called Mk I only ever released one official track, ”Vägen till Valhall”, on the first Bombadill cassette. It's a surprisingly heavy, guitar infused, folk tinged instrumental, as was the five-part suite ”Ska du med på disco”. Among their true confessed heroes were Träd, Gräs Och Stenar and similar bands, plus the latin rock of most prominently Santana. There's strong psychedelic overtones with wailing wah-wah leads on the shambolic ”Hästen” as well as on their slightly revamped take on Träd, Gräs Och Stenar's ”Sommarlåten”.
 

Tors Hammare: Demo 1

The Santana influence grew stronger when Kruse and Brandt left the band, as proven by a surviving 1980 demo by Tors Hammare Mk II, but the demo also shows they developed a stronger grip of their progressive ambitions as on ”Myrornas flykt” and ”Nattens drottning”.

Meanwhile, Svenn Kruse and Christian Brandt made their own recordings in the Bombadill studio. Judging by those, they were the real avantgarde force of Tors Hammare Mk I. Their joint recording ”Kretsloppet” mixes field recordings, electronics and tiny slices of more organized music – it's almost like a nine minute condensate of Thomas Mera Gartz's ”Luftsånger”. ”Vernissagemusik del 1” (=”music for an exhibition”) is based around an extended organ drone before turning into a summery piece for acoustic guitar and synthesizer. A second part of ”Vernissagemusik” was recorded as Heta Drömmar (=”hot dreams”), which is pretty close to the lyricism of Anna Själv Tredje. The lyrical side also comes to the fore on ”Hjortronguld”, a 27 minute piece with guitar and violin, while their Träd, Gräs Och Stenar admiration is obvious on their very strange cover of ”Sanningens silverflod” with sped-up vocals similar to those on Kebnekajse's debut and Mikael Ramel's first album, a trick also used on Svenn Kruse's solo recording ”Tomtar på loftet”.

Christin Brandt & Svenn Kruse: Vernissagemusik 1

Other short Kruse tracks further emphasized his infatuation with Swedish folk progg and psychedelia – ”Svens psykedeliska ögonblick” (=”Sven's psychedelic moment”) gives it away already in the title, while ”Säkkijärven polka” (a Finnish tune popular in Sweden at the time) sounds like some lost demo for Kenny Håkansson's ”Springlekar och gånglåtar” album.

When Tors Hammare transformed into Mk 3 in the early 80s, they had lost just about all of their original underground charm. They got better at playing for sure, but their watered down takes on ska, funk and fusion simply suggest a band without a vision. They really could have used Brandt's and Kruse's experimental spirit.

There's also an 'all-star' recording of several Bombadill artists coming together as The Bombadill Chosen Few, "Latino Blasfemia" that mixes latin with Swedish folk.

All these recordings (and more) have thankfully been digitzed for the Bandcamp age. Although a lot of the music is admittedly sloppy, it has a youthful energy and explorative desire. More importantly, it reveals a part of the local Klippan scene that has previously been only fond memories in the minds of those who were there, but only tales and legends to those who weren't. It adds several fascinating pieces to the ever so nebulous jigsaw puzzle called Swedish progg. 

Bandcamp links:
Tors Hammare
Vägen till Valhall / Ska du med på disco - Svit i fem delar / Hästen / Sommarlåten / Vinternatt i Klagshamn / Demo 1 full album playlist 
Christian Brandt & Svenn Kruse
Vernissagemusik del 1 / Kretsloppet 
Heta Drömmar 
Vernissagemusik del 2 / Hjortronguld / Sanningens silverflod / Tomtar på loftet  
Svenn Kruse 
Hymn / Svens psykedeliska ögonblick / Säkkijärven polka / Långt ute 
The Bombadill Chosen Few 
Latino Blasfemia  

TORBJÖRN "TOBBE" RÜSSLANDER – Tobbe med egna låtar (no label, MC, 1978)

 
Swedish vocals, English vocals
International relevance: *

A very obscure and almost entirely undocumented cassette-only album, privately issued in 500 homemade copies in 1978, with songs written from 1974 up to the release date. Torbjörn ”Tobbe” Rüsslander was a singer/songwriter and a pretty good guitar player who recorded these twelve songs in his rehearsal room.

Recorded on a 4-track TEAC machine, the album shares the sound characteristics heard on several American private pressings from around the same time. Although the portastudio has its obvious limitations, I've always liked the dryness of it, as if the music was registered onto a chunk of wood. Rüsslander is quite good at using the technical limitations to his advantage. 

Most of his songs are melodic, and a couple of them have a more pronounced proggish feel, like ”Fredagsnatt” and ”En vän i nöden”, the latter nicely decorated with understated flute lines. Otherwise, the progg feel lies mainly with the sincere DIY vibe, not unlike Per Forssell. 

I can't quite put my finger on what, but there's something about ”Tobbe med egna sånger” that occasionally reminds me of U.S. underground legend D.R. Hooker whose 1972 album ”The Truth” is highly regarded by psych fans and collectors, even if Rüsslander doesn't have quite the same off-beat outsider vibe. At any rate, I enjoy listening to it. It may have its shortcomings, but those are overshadowed by the merits.

Rüsslander later re-emerged briefly with his band Zvenska Muskler who released one single in 1981. He still performs, and he also works a guitar teacher.

Full album  

KRAMP – Kramp (Subliminal Sounds, 2026; rec. 1978)

 
Instrumental
International relevance: ***

Unknown and previously unreleased recordings from a three-piece with members from Hallstahammar and Västerås in the middle of Sweden. Kramp were founded in 1975 and kept going until the mid 80s without releasing a single note, leaving only rehearsal tapes behind finally unearthed and released as a digital album by Subliminal Sounds. All longhaired, instrumental power trio jamming, they sound like a heavier and darker Rävjunk at their very jammiest. It's definitely wanky with a clear influence from Hendrix during his Band Of Gypsys days, but it's also incredibly energetic with a pronounced basement feel in over the top distortion fidelity. Melody takes the back seat with the massive chunks of Erik Åström's lead guitar being Kramp's sole raison d'être. Fucking annoying or an indispensable fire spitting take no prisoners blow-out depending on your mood. If you think Terry Brooks & Strange are too held back and Id's 1976 underground six string wanker classic ”Where Are We Going?” is too mawkish, this will blow your mind to smithereens. Especially the first track (simply entitled ”Jam 2”) which is so intense it will sever your limbs if you can withstand its full 23+ minutes running time.

Full album playlist (Bandcamp)

FIENDENS MUSIK – Complete singles 1978-1981

Fiendens Musik were one of the finest groups to bridge progg and punk in a time when genres blurred. Centered around singer Mats Zetterberg, they released two albums but also several singles with non-album tracks/takes.

 

En spark rätt i skallen / Du går aldrig säker (för Fiendens Musik) (Bellatrix, 1978)

Swedish vocals

International relevance: ***

”En spark rätt i skallen” appeared as one of the key tracks on the ”Fiendens Musik” LP in 1979, but this is an earlier, rawer take. It's more desperate than the album version which suits the song's lyrics against senseless street violence perfectly. A great song in its best version! The B side is a Swedish version of Iggy Pop's ”The Passenger”, not as great as the A side but amusing and charmingly semi-chaotic.

 

Pappa har alltid haft rätt... / Tredje tåget (Bellatrix, 1979)

Swedish vocals

International relevance: **

Recorded late 1978 and released early 1979. ”Pappa har alltid haft rätt” is co-written by Zetterberg and Lars ”Ferne” Fernebring (Risken Finns), and an early example of Zetterberg's knack for engaged storytelling (this time about the generation gap) with suitably pissed-off vocals and a great use of Mats Bäcker's sax -- always crucial to Fiendens Musik's trademark sound. ”Tredje tåget” is a straightforward rock track in a Stonesy pub rock vein with rough edges. The title was later recycled for Mats Zetterberg's record label Tredje Tåget.

 

A Boot Right In The Face / Goalgetter (Slyngel, 2014; rec. 1979)

English vocals

International relevance: **

English language versions of two tracks otherwise found on the debut album. ”A Boot Right In The Face” doesn't work quite as good as ”En spark rätt i skallen”, while ”Goalgetter” is actually better than the Swedish equivalent ”Kulan i luften”. Originally intended for a British release, the single got stuck in the archives until 2014 when finally released on Slyngel Rekords, a Swedish label specializing in 45s with unreleased material by domestic punk bands.

 

Moderata brudar / Slutna sällskap / Arabisk bonus (Bellatrix, 1979)

Swedish vocals
International relevance: **

A slightly more polished outing from Fiendens Musik compared to their earlier singles, with two pretty catchy tracks ”Moderata brudar” and ”Slutna sällskap” as the main attraction. The most interesting track though is the third one, the semi-instrumental ”Arabisk bonus”, an oddly jouncing number with loads of echoed sax. An atypical Fiendens track but an odd favourite of mine.
 

 

Musik mot gryningen / Stadsbo (Tredje Tåget, 1981)
Swedish vocals
International relevance: ***

”Musik mot gryningen” is probably the most sophisticated track by Fiendens Musik with a slightly snaky melody and an unsettling mood underscored by Bäcker's nervy sax. A great one and a pity it was their swansong (not counting reunions). B side ”Stadsbo” is a humorous upbeat track, more of a throwaway compared to the brilliant A side.

En spark rätt i skallen full single playlist 
Pappa har alltid haft rätt full single playlist 
A Boot Right In The Fave full single
Moderata brudar full single
Musik mot gryningen full single  

VARIOUS ARTISTS – MUSIKFESTIVALEN 1978 (no label, MC, 1978)

 
Featured artists: Magnum Brus / Trycket / Harline Blue / Handkraft / Staffan Pettersson / Kylans Rockorkester / Horny Band / Inferno
Swedish vocals, instrumental
International relevance: *

An incredibly rare cassette, home copied on standard TDK tapes and privately released locally in the northern town of Örnsköldsvik in 1978. The compilation was recorded live during a benefit festival for Örnsköldsvik youth club that needed renovating. Several local acts performed at the festival, the best known being Kylans Rockorkester along with several bands that never made it beyond the city limits. Apart from Kylans Rockorkester, only Hairline Blue got as far as to have a 45 out under their own name, although a couple of the performers also appeared on ”Musikfest 80 Örnsköldsvik”. There's heavy rock, bebop, jazz fusion, and funk, and the level of playing varies almost as much as the musical styles. Some bands are pretty skilled while others are not. The sound quality isn't great but OK for a 70s audience recording. Neither is the music. The best selection is ”Spränga hela skiten”, the first-ever released Kylans track, atypically dark in mood coming from them and not as bluesy as their better known stuff.

”Musikfestivalen 1978” is definitely of interest to collectors of local releases, but the average listener need not bother.

Full album playlist 

A SEVEN INCH SPECIAL, VOL. 12: Various

DEN TRETTIONDE FEBRUARI – Den trettionde februari / Harley Davidson (Ljudspår, 1976)
Swedish vocals
International relevance: ***

I wanted to hear this one-off 45 for a very long time, but it proved elusive. I had no idea what to expect from it but I still had the feeling it might be good.

The lyrics were written by later on awarded radio journalist Olle Hägg while an unidentified Hungarian keyboardist using the pseudonym David Oliver was responsible for the music. The two songs were recorded in Acke & Gurra's studio providing a not too flashy but adequate, slightly spacious underground-ish sound. That comes in particularly handy on the track sharing its name with the band itself. ”Den trettionde februari” is a faintly funky track with a very effective, flanged and nervy guitar. The flanger adds an electric sitar quality to the solos, and a persistent moog adds to the semi-psychedelic quality. It's a really enjoyable piece that somehow seems a bit overlooked. ”Harley Davidson” is more of a singer/songwriter styled half-ballad that fails to make the same impression as the main track, but it's well worth seeking out for the A side!

DOM SMUTSIGA HUNDARNA – För din nakenhets skull / Visa i Molom (MNW, 1977)
Swedish vocals
International relevance: **

Released to generate interest for the then forthcoming debut ”Vårdsjuk blågul fanblues” by this Gothenburg band, but only the A side ”För din nakenhets skull” is on the album. The B side is exclusive to this single, a cover of visa singer Alf Hambe's best known song, the folksy and mystical ”Visa i Molom”. It's vastly different in the hands of Dom Smutsiga Hundarna. Gone is the fragility of the original. It's definitely rock, with a peculiarly pulsating rhythm underlined by a watery organ, an odd drum section and a wailing fuzz guitar taking the lead. ”Visa i Molom” would have been out of place on the album, but as a quirky B side it's really quite great. If you're a fan of ”Vårdsjuk blågul fanblues”, this is an excellent addition to your collection.

RONNY ÅSTRÖM – Maskin nr. 1 / PEPS PERSSON – Maskin nr. 2 (Sonet, 1979)
Swedish vocals
International relevance: **

The two friends Ronny Åström and Peps Persson on a split single, with the B side being Peps's wellknown track from the ”Spår” album. The sentiment is the same on both tracks, with lyrics addressing the mindless mass production of superfluous things, two statements against the consumerist society. Åström's side is unique to this 45, and it's one of his very best tracks. Set to the monotonous rhythm of a book packing machine, a monophonic synthesizer fill in with a naive, plastic melody behind Åström's gruff voice singing an almost circular melody that could go on forever, just like the sameness of the boring work in a soul-destroying factory. The minimal synth framework makes the point perfectly – beneath the alluring surface of childlike charm, there's a heartfelt critique against the modern, commercialized Western world. 

RIGHT BAND – Keep On Wailing / Natural Vibes (Liphone, 1978)
English vocals
International relevance: **

A not very sought-after single on the long running and increasingly unpredictable West Coast based Liphone label. The band had Per Giöbel on vocals and guitar, and he also wrote ”Keep On Wailing” for the A side. Giöbel is known from Hausswolff and Claes Ekenstam & Sista Bandet, as well as ”Snacka går ju”, one of Motvind's later albums. Pretty far removed from Right Band's 7” which is more in a funk rock style. ”Keep On Wailing” is the better song, revealing some inspiration from Little Feat and late 70s Zappa. Very competent for a local band that only released one single but still not very interesting
.

STETSON CODY GROUP – Eyes / Det var du (SCG, 1979)
Swedish vocals, English vocals
International relevance: **

Best known for having guitarist Kjell Lövbom in their line-up years before he became Kee Marcello in multi-million selling hair metal band Europe. Which says nothing about Stetson Cody Group, as everyone who's heard the various artists album ”Jazz & Rock” will know. That particular album featured four Stetson Cody tracks, but this self-financed single was the only outpouring under their own name. The style is similar, a test tube blend of funk rock, jazz fusion and a bit of prog rock. It's competent and tight but not fun to listen to. At all. 

ULF PETTERSSON – Summershores / This Kinda Shit (no label, 1979)
Instrumental
International relevance: **

With a dude looking like the entire Blue Öyster Cult on a bad hair day, one could easily think this would be a hard rock one man band, but nothing could be further from the truth. This is a very rare predominantly electronic DIY effort with hints at sequencer krautrock, Giorgio Moroder and French cosmic disco. ”Summershores” is a relaxed, laidback piece that comes with Pettersson's listening instructions ”Sit down in your favourite armchair and light your pipe”. And as he promises you that ”This Kinda Shit” can help you ”fly away to an alien planet”, you know this is really some guy. The kitsch level is high.

Both tracks were recorded in Mora Träsk's studio in Gävle, and most of the 500 copies were sold at Pettersson's dad's work, a local shipping company! The last remaining copies went in 2024 when there was a sudden outburst of interest in it among DJ's and collectors. Subliminal Sounds reissued it digitally in 2026.

INJECTION – Mountain Side / Mozarts 40:e (Liphone, 1979)

English vocals

International relevance: **

A symphonic band of only one single, released on the aleatoric Liphone label. They try hard but can't live up to their ambitions. The singer sounds strained and flat on ”Mountain Side”, the time changes are underrehearsed and the synth licks have a tremulous glissando that's very irritating. The B side is an adaption of Mozart's Symphony No. 40. With a perky country & western beat and ending with ”I Wanna Be Like You” from ”The Jungle Book”, it's just corny. It might be funny if you think that a drunk Emerson, Lake & Palmer twisting their legs in a serious need of pee is funny. What the hell were Injection thinking?!

MOBILE – Swedish Magazines / Truck (MOB, 1980)
English vocals
International relevance: ***

A rather unusual sounding band (from Kivik in the south) that makes me think of a basement version of British art rockers Cardiacs. Very tight performances which can possibly be explained by the fact that three of the four members were brothers with a tight connection. Dan, Sven and Jörgen Bornemark were sons of Gullan Bornemark who wrote a large number of extremely annoying children's songs in the 60s. I wouldn't say it's a very good single but it's nevertheless interesting as so few Swedish bands actually sounded like this. Worth hearing but perhaps not buying. On the other hand, it's not a very expensive item – it seems to be rather unknown.

LUFTGROUP – Pornografi / Det kostar på... (Musikkällan, 1981)

Swedish vocals
International relevance: **

This Värnamo seven-piece had hopes for the future. The short liner notes on the back of the cover read: ”This single is an exclusive amateur release documenting that 1980 musically moved at all air bearings, also on basement level. With the next disc, we'll move into the light.” That never happened – this was the only thing they ever released. Most of the members seem to have disappeared without any further musical traces at all which seems a bit odd as Luftgroup sounded rather good. Especially for being a local underground band. Anti-porn A side ”Pornografi” is rather catchy, a bit like Fiendens Musik although not as hard-edged. ”Det kostar på...” reminds be a bit of ”Knockin' On Heaven's Door” with a rich Hammond organ fleshing out the sound and a fat fuzz guitar in the short solos. It's not a 'lost masterpiece' but I kind of like this 7”. It has some urgency to it, and I'd be interested hearing more of Luftgroup. I suspect they ought to have been a pretty good live band. 

NORRSKENET – Sången om Norrskensflamman / Norrbottenssången (Flame, 1981)
Swedish vocals, spoken word
International relevance: -

This is abysmal even for a political record. Northern communist news magazine Norrskensflamman (today known as Flamman) released this in 1981 celebrating themselves with A side ”Sången om Norrskensflamman”, an incredibly cringy track with a long spoken intro so deadly serious that it turns into full-blown parody. It's so embarrassing that it makes Fria Proteatern sound like a really nifty rock'n'roll combo. And when the choir enters with their local patriotism I just want to sink through the floor never to rise again to the realm of the living. The only good thing I have to say about the equally ”Norrbottenssången” on the second side is that it at least lacks the recital. The singing is debile and the backing music is so twee a teddy bear could be mistaken for Charles Manson in comparison. Bloody amazing really how appalling music can actually be!

ROCKVINDAR – Lys upp mitt mörker / Ann-Louie (Metronome, 1982)
Swedish vocals
International relevance: *

Last release from actor Thorsten Flinck's band following two years after their only album. The album wasn't too impressive, and the same goes for the two sides here. Energetic performances but still plain standard rock with mild new wave aspirations and Clarence Clemons styled sax on both tracks. No need to bother.

Ulf Pettersson full single playlist (Bandcamp) 
Injection full single playlist (Spotify)
Gog full single
Rockvindar full single
Ronny Åström / Peps Persson
Maskin nr. 1 (poor sound) / Maskin nr. 2
Dom Smutsiga Hundarna
För din nakenhets skull
Luftgroup 
Det kostar på...  
Norrskenet
Sången om Norrskensflamman / Norrbottenssången

Den Trettionde Februari / Right Band / Stetson Cody Group / Mobile no links found

MYRBEIN – Radio Jämtland 1978 (no label, 2015: rec. 1978) / Live Tonkraft Sveriges Radio P3 1979 (no label, 2015; rec. 1979) / Live Borås 1981 (no label, 2015: rec. 1981)

Myrbein's only album ”Myrornas krig” is one of the worst albums I've heard on this blog. It's prog rock (with one 'g') at its most annoying, complex for the sake of complexity alone, but with a puerile lack of compositional logic that makes them sound like a kindergarten King Crimson on a bad day. It was released in 1981, shortly before Myrbein disbanded (with some members turning up in the un-proggy postpunk band Skallarna not long after). They formed in 1977, and a couple of early tapes were made available on the band's Soundcloud in 2015, plus one from their final year.

 

Radio Jämtland 1978 (no label, 2015; rec. 1978)
Instrumental, English vocals
International relevance: ***

The earliest tape is a three-song session made by local radio station Radio Jämtland (Jämtland being Myrbein's home county). If Myrbein were musically lost in their later years, they had absolutely no fucking clue what they were doing during the earliest days. Musically illiterate songwriting and blunderous playing but chock full of over-reaching ambition. With a playing time of only 16 minutes, this shouldn't be that hard to get through but it's really an endurance test. Last track ”Pucko vinner” is unbelievably terrible.

Live Tonkraft Sveriges Radio P3 1979 (no label, 2015; rec. 1979)
Swedish vocals, English vocals, instrumental
International relevance: ***

Recorded in their home town Östersund for the legendary Tonkraft series on Swedish national radio, and perhaps that fact made Myrbein nervous enough to shape up a bit. I'm not saying it's a good show, but it's not their worst effort. Despite some misguided attempts at Samla Mammas Manna styled musical humour, the track ”Hjälp släpp ut mig” is in fact almost listenable. Unfortunately, the tiny hope that track might inspire is quickly ruined by an embarrasing rock'n'roll pastiche called ”Ko”, and a disco parody named ”Disco Baby” that kicks in wide open doors. Wow, mocking disco in 1979! Did you really think that was a forefront thing to do? Come on, guys, please...

Live Borås 1981 (no label, 2015; rec. 1981)
Swedish vocals, instrumental
International relevance: ***

This reasonably good sounding audience recording opens with a cover of King Crimson's ”Larks' Tongues In Aspic, Part II”, showing they finally left their most of their Samla Mammas Manna/Gentle Giant hang-ups in favour of a Crimson hang-up. "Larks' Tongues" is fairly well performed, it suggests Myrbein could actually pull off a bit of garage level symph rock without making complete fools of themselves, and that their biggest problem perhaps was their insufficient understanding of composition. The rest of the gig features songs from their then recent album and some leftovers from their early repertoire including ”Ko”. Fans of ”Myrornas krig” will probably like this archival outpouring of theirs the best, but I still think it scores high on the international suckitude scale.

Radio Jämtland 1978 full EP playlist  
Live Tonkraft 1979 full album playlist 
Live Borås 1981 full album playlist

A SEVEN INCH SPECIAL, VOL. 11: Late era hard & heavy

GUN SMOKE
Midnight Train / Thoghts (Artside, 1975)
English vocals
International relevance: ***

Housed in a very fetching sleeve, this is a bit of a lost gem. Regional label Artside is almost exclusively known for dance orchestras of the most dubious kind, so how Gun Smoke ended up on the label is way beyond me. ”Midnight Train” is hard rock and and psych rock in equal parts with an urgent drive and a very appealing melody. The excellent lead guitar is present all through the track and really fires it up during the solo. ”Midnight Train” is a mini masterpiece that has gone under the radar for far too long. The misspelt ”Thoghts” is a ballad with a nice, drowsy, hazy atmosphere. It's decent I guess but it just can't touch the A side's brilliance. But ”Midnight Train” alone makes this one of the best 45s featured on this blog.

Gun Smoke reunited in the 00's as Gunsmoke and released a CD in 2005. It has a vastly inferior re-recording of ”Midnight Train”, and is more in a southern rock style.

 
HIGHBROW – Rock On (T-Bone, 1978)
English vocals
International relevance: **

Rooted in mid 70s hard rock but moving in the heavy metal direction with dual guitars and some boogie rock moves. The A side ”A Loser” found its way onto the all-Swedish volume of the ”Jobcentre Rejects” compilation series doing a great job documenting rare NWOBHM (and FWOSHM - first wave of Swedish heavy metal) singles otherwise lost to obscurity. The vocals, handled by Norweigan born Dave Nerge, leave bit to be desired but at least they're gratifyingly free of the genre's more annoying mannerisms. B side ”Roumers” (which I guess is supposed to mean ”Rumours”) is perhaps more interesting with an unusual melody with overlapping vocal lines. All in all, it's pretty well executed and not without talent. It's not surprising that all members went on to other bands, some of them quite successful, after releasing a second single in 1979.

 

ROCK SET – Piteå kommun / Up In My Room (Frontalrock, 1979)
Swedish vocals, English vocals
International relevance: *

Rock Set really must have hated their hometown judging by the track ”Piteå Kommun”. They vehemently describe it as a terrible place where time stands still, everything is boring and everyone has alcohol problems. Set to a riff suspiciously similar to Eddie & The Hot Rods' ”Writing On The Wall”, the message gets through loud and clear. Coupled with a blues rocking ”Up In My Room”, this is a great and highly sought-after classic, sometimes going for up to around 200 euros! Thankfully, the guys behind the aforementioned ”Jobcentre Rejects” series reissued it as a deluxe 7" in 2021, making it easier (and cheaper) to obtain. Perhaps too punkish for some, it still remains an excellent example of the rough-hewn DIY ethos that signified punk as well as progg. 

Rock Set released a few more singles (and there's a self-released CD-r compilation of theirs including previously unreleased material), but none of their later outings were as good as this one. 

 

KARL BRUN & HIGHWAY – Ikväll / My Love Is Burning (no label, 1979)
Swedish vocals, English vocals
International relevance: *

Highway were a Gothenburg band augmented with Karl Brun (real name Kenneth Pilo with his nom de plume being a reference to Snoopy character Charlie Brown) and issued this self-financed 1979 single in 200 copies. Brun only appears on ”Ikväll”, an example of idiotic radio friendly boogie stomp. The English spoken B side is credited solely to Highway and is better in a Deep Purple-ish style sans the organ. Obviously rare and seemingly quite expensive when offered for sale, but definitely not worth the price.

TEJP – Tung rock / Sanningen (Tejp, 1979)
Swedish vocals
International relevance: *

”Tung rock” means ”heavy rock” in English, and it's not far from the truth. Or perhaps this one's more speedy than heavy. Both tracks on this very rare and valuable 7” are a revved up mix of harder rock and punk, a bit like Hela Huset Skakar but not quite as good. Tejp won't win any awards for groundbreaking songwriting, but both tracks are soaking with a devil-may-care attitude, and the unpolished execution gives them a very charming underground feel perfectly matched by the primitive cover art. I'm quite fond of the kind of energetic no-nonsense, hit-and-run rock'n'roll Tejp play, but it will definitely not satisfy anyone demanding complexity or sophistication.

 

VANADIS – Heaven Can Wait / Do Me A Favor (CF, 1979)
English vocals
International relevance: *

This year's award for strangest cover art goes to Vanadis from the southern city of Helsingborg. It's not the only quirky thing about their only outing, recorded in 1978 and released the following year. Singer Jan Göransson has a dry, strangely timbreless voice which is very far from what you associate with a hard rock singer. The drum sound is peculiar too, especially on ”Do Me A Favor”, with the flat, thuddy bass drum being too loud and the guitars to low in the mix. Producer Göran Sandquist was responsible a few more records in the years to come, but this was done in of his earliest days on the job and he obviously hadn't gotten the hang of it. It sounds as if he was more accustomed to radio production than music ditto. Not that the songs are too impressive either – they're too standard sounding – but they would certainly have had more oomph had they hired someone who knew what he was doing at the mixing desk.

Vanadis started out in 1975 as Aniara. They split up in 1979 due to military service, but some of the members later joined other bands.

BAKRUS
Kärnkraftsrock / Blåljus (Bakrus, 1979)
Nettan / Lämrock (Blåljus, 1980)
Swedish vocals
International relevance: *

A band from Åsa, a small town a few miles south of Gothenburg. They left only two self-released singles behind, and the first one at least was recorded in Nacksving's studio. Generally undistinguished semi-hard rock hinting at '77 punk and lyrics with typical post-Nationalteatern sentiments. ”Kärnkraftsrock” is against nuclear power, ”Nettan” against drugs and prostitution. Both singles are rare and sought-after but just not worth it. The best track is clearly ”Lämrock” which can be also found on ”Killed By Death, Vol. 51”. 
 

HAIRLINE BLUE – Snart så kommer jag hem / Månen (Harline Blue, 1980)
Swedish vocals
International relevance: *

Had the mix been better balanced, maybe this would have made a greater impact although not by much. ”Snart så kommer jag hem” is semi-boogie rock with shouty vocals. Not good. The B side is a ballad of sorts with a pseudo Christian vibe (although it isn't religious). ”Månen” has some decent heavy lead guitar with proggish overtones, but it's not enough to save it. 

 

ARMATUR – Rock 'n' roll / Mr. X (Duvan, 1980)
Swedish vocals

International relevance: **

The A side is every bit as daft as its title – if you have to convince people you're rock 'n' roll, you're not.

”Mr. X” is quite good however, although it has a loan or two to repay to Black Sabbath. But Armatur are hardly the only ones in debt to Sabbath, so I let them get away with that. The vocals are only so-so but the track has a nice push to and a very good lead guitarist. Only 500 copies were pressed, and with one of the tracks being so good, it's easy to see why it's in such demand with asking prices in parity with that. Recommended if you can find a copy. But don't play the A side.

 

DAKKS – Änglarna / Tema för säsongen / Metallmani (Dakks, 1981)
Swedish vocals
International relevance: *

Not very wellknown, and not very expensive. Not very good either, and certainly not stringent. During the course of only three songs, they swing from one style to another, and I've no idea if they want to be a hard rock band, a pop band or an experimental ska band. Given the main track, the artwork, and the song title ”Metallmani” (=”metal mania”), I guess that hard rock/heavy metal was what they aimed for. But who am I to say from such an inconsistent effort. Singer David Taylor sounds like he would be in a Christian band – there's something about his tone colour that would fit that. However, one source claims he's the guy later known as Roy Taylor (real name Tony Hellander) in Swedish hair metal band Trash, but I can't decide if that's correct or not. No matter what, Dakks only release is more confusing than appealing.

 

REPULZ – Telling Your Future / God Save Rock 'n' Roll / Problembarn (Stepping Mexicam Produktion, 1981)
English vocals, Swedish vocals
International relevance: *

Sometimes classified as punk, Repulz actually think they're hard rock. But whatever idea they might have had in their heads about their own sound, they failed to put it into practice. This 45 is just plain bad with pedestrian songwriting, a clumsy drummer and a singer who obviously skipped English classes in school. ”God Save Rock 'n' Roll” is as clichéd as its dull-witted title. The slightly punkish ”Problembarn” (=”problem child”) is the only song in Swedish and is probably the best track here for that very reason.
 

BOOGIETRYCK 

Röd eller blå / På andra sidan (Try Musikproduktion, 1982

 Swedish vocals
International relevance: *

An insignificant band from northern Sweden that nevertheless released another 45 and a full LP in 1984 in addition to this debut 45. Pretty much in the typical straightforward Northern rock style with a fair amount of boogie rock mixed in. ”Röd eller blå” is the better of the two tracks but none of them is very good. Rekyl and Kylans Rockorkester did this thing better even if the style itself isn't too interesting to begin with.

 

WULCAN – Mysterier / Travellin' (Wulcan, 1982)
Swedish vocals
International relevance: **

A very obscure, very rare and very expensive 45 from a band originally known as Paradox formed when the drummer was only 8 years old! As Wulcan, they won a local talent contest in 1986 which resulted in a second single. This their debut was paid for by the band, and display a fair amount of talent. ”Travellin'” is a bit on the mediocre side despite some fully functioning harmony vocals, but the Swedish side ”Mysterier” (=”mysteries”) is very good with a mood setting piano intro and a really beautiful melody. The lyrics seem to have Christian overtones but it's hard to say for sure – there's certainly no overt preaching going on here. Although not really in the old school hard rock vein a la November, Midsommar or Great Ad but a couple of steps closer to heavy metal, it's such a wonderful track that I still recommend it. I really hope it will reissued in some way considering the asking prices for an original. Maybe there's even some unreleased stuff of the same calibre hidden away somewhere?

Gun Smoke
Midnight Train / Thoghts (poor sound) 
Highbrow
A Loser (Bandcamp)
Vanadis
Heaven Can Wait / Do Me A Favor
Bakrus
Kärnkraftsrock / Blåljus 
Nettan / Lämrock 
Hairline Blue
Snart så kommer jag hem / Månen  
Armatur
Rock 'n' Roll / Mr. X 

Tejp full single
Karl Brun & Highway full single playlist
Rock Set full single playlist (Bandcamp) 
Dakks full single 
Repulz full single
Wulcan full single

VARIOUS ARTISTS – Tvärsnitt (Caprice, 1978)

Featured artists: Hayena Band / Kattegatt / Claes Wettebrandts Trio / Vågspel / Puls / Boojwah Kids / Krubbits / Alter Ego / Marulk / Änglaspel
Instrumental, Swedish vocals
International relevance: **

The still active Caprice Records were very active pushing unknown bands to public attention, releasing a fair number of various artists compilations in the 70s apart from their regular output of folk music, jazz and contemporary composers. Albums such as ”Det nyjazzte från Göteborg”, ”Jazz och rockstipendiater 1976”, ”Jazz och rock”, and even ”Gatumusik från Stockholm sommaren 76” reveal their consideration of yet unsigned acts. Some remained unsigned, or were forced to release music on their own to make a mark outside of Caprice's release schedule, while others got a more or less prolific career such as Änglaspel, Boojwah Kids and Claes Wetterbrandts Trio. Kattegatt had an interesting album out on their private label, while the exceptional Hayena Band and symph rockers Alter Ego (later Alter Echo) had to wait decades before finally reaching out to the public with archival releases. Vågspel, Puls, Krubbits and Marulk were less fortunate and soon disappeared in obscurity.

”Tvärsnitt” is appropriately subtitled ”13 unga svenska jazz- och rockgrupper 1978” (=”13 young Swedish jazz and rock groups 1978”), so expect some diversity in style here, ranging from prog rock to average piano jazz. But the general competence level is high – some too competent for their own good, emphasizing skill over emotional content, but some of it is in fact quite good. I've already singled out Hayena Band as way above average, and Kattegatt were indeed interesting. The track from Puls starts out as pedestrian jazz fusion but suddenly bursts with heavy Miles Davis energy circa '71-'72. Boojwah Kids are what they are, but if you're into them, their ”Gul sak som känns” is a welcome addition to their small output.

If you don't expect absolute consistency, then ”Tvärsnitt” is a fairly worthwhile compilation with the odd surprise hidden away in the tracklist. 

Hayena Band - Puerto Tune  
Alter Ego - Innan strax före  

ZETA – 1974 (Mimo Sound, 2019; rec. 1974) / Svart Dag (Mimo Sound, 2024; rec. 1977) / Speleman/Walking Down The Starway (Sonet, 7", 1978)

After drummer Björn Malmros's stint in Alexander Lucas, he formed his own band Zeta in 1974. Originally a four-piece, they went through a couple of line-up changes before debuting for Sonet with single ”Speleman” in 1978, followed by a second 45 ”Vicken tjej” in 1979. By that time, the sound had changed fundamentally to a mainstream kind of AOR of no interest to this blog. However, very different sounding recordings by previous incarnations of the band exist and have trickled out on streaming platforms over the years. 

1974 (Mimo Sound, 2019; rec. 1974)
Swedish vocals, English vocals, instrumental
International relevance: ***

From their formation year of 1974 comes this 26 minute studio session. Three tracks are untitled instrumentals, and as they don't really hold up as such, my guess is they are unfinished backing tracks supposed to have vocals overdubbed at a later stage. That leaves five tracks that reveal a band surprisingly mature in their fledgling year. The vocals are a bit weak (especially on the only English speaking track ”Burning”), but the music is good-to-great early hard rock that surely would be in high demand among collectors had it only been released back in '74. Some tracks are straight up excellent, such as ”Jag går genom staden” and most notably ”En alvkung” – a classic had it been given the chance to become one. The tapes are a bit hissy, but if someone took the time to clean them up, most of these tracks are well worthy of a proper release.

 

Svart dag (Mimo Sound, 2024; rec. 1977)
Swedish vocals, instrumental
International relevance: ***

Three years later, and Zeta had become a power trio with only Björn Malmros left from the original incarnation. Despite being recorded in 1977, this nine-track tape – only 21 minutes long – is quite unaffected by the burgeouning heavy metal sound of the era and is much closer to old school hard rock, with the possible exception for the closing instrumental ”Fantasia”. ”En alvkung” makes a reappearance here in a version standing up for itself not needing any comparisons to the original take. Again, some careful noise removal and sensible remastering is all it takes, and then this is ready for vinyl. Make it side 2 of an album with an accurately trimmed down version of the 1974 session on side 1 and you'll have a pretty brilliant slice of long-lost underground hard rock from the classic era.

 

Speleman / Walking Down The Starway (Sonet, 7". 1978
Swedish vocals, English vocals
International relevance: *

The first proper release from Zeta was this 7”, but the last to warrant inclusion here. The decline into a very uninteresting mainstream sound had already begun, even though it's not as bad as it soon would be. ”Speleman” is decidedly the better track of the two, with some light progressive touches, but compared to ”1974” and ”Svart dag”, this is ignorable. Issued in red vinyl in Sonet's "Swedish Tracks" series.

Like I mentioned earlier, a revamped Zeta released one further 45 (in 1979), and there are more previously unreleased tapes available for streaming. But none of these are attention worthy, with very little left of what made them so good in the beginning.

1974 full album playlist 
Svart Dag full album playlist 
Speleman full single playlist 

NORRTELJE ELITKAPELL – Oskapliga låtar (Oktober, 1978)

  
Instrumental, Swedish vocals, other languages
International relevance: *

Second album by a largely unsatisfactory folk group with an emphasis on fiddling. ”Oskapliga låtar” sounds like a mix of Norrlåtar and Skäggmanslaget but much more lightweight and less finesse than any of those. The best track in this lot is ”En gång i min ungdom” which sounds a lot like Folk & Rackare's mid-period albums with crumhorns added.
 

”Oskapliga låtar” was originally released by Oktober but reissued in the mid 80s by Sonet. The reissue has a different cover (see above), confusingly enough similar to the one used for the band's first album ”Luffarschottis” from the previous year.

Noteworthy guest appearance: Malanda Gassama on percussion. Per ”Puma” Hedlund is now a fairly wellknown key harpist.

Full album playlist 

PETER WARTIN & CLAES NORDENSKIÖLD – Claes Nordenskiöld & Peter Wartin (PETCLA, 1978)

 

Swedish vocals, instrumental
International relevance: *

Claes Nordenskiöld isn't a too familiar name, but Peter Wartin was in semi-hard rockers Baron Bult who released two 45s, and later still in the imperatively ignorable synth poppers Super Tele Group.

This duo album shows only little of what was to come in only a few years. The foundation is vocals and acoustic guitars – no drums – with some electric guitars, piano, soprano sax. One track even have a fusion violin that sounds like a garage take on Jean-Luc Ponty. The few short (semi-)instrumental tracks scattered across the album has a slight relaxation music vibe, but there are in fact a couple of boogie styled numbers that reveal that Wartin had some premature Baron Bult inclinations already at this stage. But apart from those, there's very little resembling actual rock music here. 

Being recorded in the internationally renowned Decibel Studios in Stockholm the sound and production is on a high level, but the album nevertheless retains a slight underground feel I can't quite put my finger on (I guess the homemade looking album cover helps). The songwriting is indistinct, some lyrics lightly political, and the album as a whole feels vague and unsharp. And with neither Wartin nor Nordenskiöld being particularly memorable singers, the album just passes more or less unnoticed.

Hur mycket är lagom 
Väntan 

OMAR – Archival releases 1978-1982

 

 Omars Greatest Hit... And 14 More 1978-1986 (no label, 2014; rec 1978-1986)

Swedish vocals, English vocals

 International relevance: *

Omar were a four-piece from Värnamo in the Småland region who released one sole 12” on private label Lucas in 1978. But they taped a lot more, although much of it was live recordings, rehearsals and demos, eventually released on streaming-only compilations. ”Omars Greatest Hit... And 14 more” contains the full 12” thus including their best song ”The Love That Once Bled”. The rest is what standard rock music of little personality. Their ”greatest hit” was apparently ”Värnamo, Värnamo” about their hometown, here featured in a live version. There are no recording dates given, but judging by the style and sound, a little more than half of the material is from 1982 or earlier. The assumably later songs is similar to what Ulf Lundell did in the mid-80s.

 

Live, Demos & Studio 1978-1986 (no label, 1999; rec. 1978-1986)

 Swedish vocals, English vocals

 International relevance: *

Covering the same period but with entirely different songs. Sound quality varies heavily from terrible to decent but the style is similar to ”Omars Greatest Hit” only with fewer songs in the 1986 style. Best track is ”Kärlek bränns” but it's still too undistinguished to make an impression.

 

Live 1982 & 1984 (no label, EP 2022; rec. 1982-1984)

 Swedish vocals

 International relevance: *

Again in the streaming-only format, this four-track live EP has only two songs within the blog's time frame and one of them was already on ”Live, Demos & Studio”. ”Om dom bara visste” was on ”Live, Demos & Studio” but in a different version, but it still sounds like most of their usual pedestrian repertoire.

 

Värnamo, Värnamo (Live och i replokalen 1978) (no label, single 1998; rec. 1978)
Swedish vocals
International relevance: *

Two versions of the same song, the live one also being on ”Omars Greatest Hit”. Not a good song to begin with, and the rehearsal take hardly makes it any better. Probably only of interest to the friends of the band and others living in Värnamo hating the town as much as Omar did.

Several other releases of later Omar material exist, also only for streaming.

Omars Greatest Hit... And 14 More full album playlist (Spotify)
Live, Demos & Studio 1978-1986 full album playlist (Spotify)
Live 1982 & 1984 full EP playlist (Spotify)
Värnamo, Värnamo full single playlist (Spotify)